Having a few collaborations out there with Anthony Pateras and David Brown, Australian percussionist Sean Baxter uses only drums on this single, with two distinctly different approaches to playing them. While the results are rather consistent with the world of free jazz, the microscopic elements of sound that shine through add an entirely new layer of depth to the recording.
"Metal" is a multitude of clattering wind chimes and chaos, propelled by constant drumming under the morass. While at first glance it might seem like an intentional mess of sound, a closer listen reveals a lot of sonic nuance and detail exhumed from just percussive sounds, without any effects or processing. The raw, violent rattles of metal are beautifully underscored by rich, booming bass drum sounds that are perfectly recorded.
On the other side, "Flesh," the sounds are more sparse and given room to breathe. While much of the drumming was done via metallic items previously, on here Baxter used only his body to play the drum kit. It feels less violent and raw in comparison, the dramatic swells of bass drums are balanced out by careful flicks of a snare drum skin. As a result, the overall feel is simply more organic and human, as a clear byproduct of the way it was recorded.
While the instrumentation is Spartan by design, Baxter teases a wide world of nuance out of the traditional drum kit, mixing pensive, meditative pauses at one moment, then crashing noise and aggression the next. The way this single was recorded also must be recognized, as I've rarely heard drums sound this pure and lush: there's a richness to be heard in each beat that few recordings have.
(—) Creaig Dunton (Brainwashed)

Best known, at least here, from his trio with Anthony Pateras and David Brown, Sean Baxter offers here two cuts of solo percussion. I assume that the title is indicative of what is played, 'Metal' and 'Flesh', in which perhaps we must understand 'Flesh' as the skin of drums. In 'Metal' things rattle on the metallic objects in the best tradition of someone like Z'EV, and is short and to the point. 'Flesh' is a more jazzy piece for various drum skins and a bit of cymbals. A moody piece of music actually with some great subdued playing. Very short altogether, which is a great pity.. I would have loved to spend a few more minutes with this great improvised music. Next time a 10" please.
(—) Frans de Waard (vitalweekly.net)

These pieces by Australian avant garde percussionist, Sean Baxter, exemplify a long-standing preoccupation with extended technique and acoustically generated noise applied to the conventional drumkit in a freely improvised context. Alongside compatriots like Robbie Avenaim, Tony Buck, Steve Heather, Joe Talia and Will Guthrie, Baxter has been at the forefront of percussive exploration in Australia since the 90s, pushing the bounds of the acoustic drumkit's sonic potential in a wide range of collaborative and solo settings, not least of which includes his acclaimed group with Anthony Pateras and Dave Brown. It is fitting, then, that these recordings are dedicated to those musicians, given the gestation of Baxter's approaches represented on this record in that innovative trio.

The works featured on this Bocian release hail from an expansive session destined for a full release in the future. Recorded by lauded engineer Christopher Lawson in the Melbourne studios of Australia's national broadcaster (the ABC) with innovative audio-visual artist and frequent collaborator, Robin Fox in attendance, the intent of the session was to capture Baxter's novel approach to percussive sound generation in high detail. In a series of concise improvisations, each focusing on the use of unconventional implements to extract unusual timbres from the drumkit itself, the recordings emphasize the possibility of creating a vast and dense sonic world without the use of overdubs or processing. With allusions to avant garde electronic music, Modernist chamber music in the style of Xenakis and Lachenmann, extreme noise and the maximalist spectrum of post-AMM free improv, Baxter's work here illustrates the fluidity and complexity of acoustical percussive frequencies and timbres.

On "Metal", the piercing and jarring sounds of untuned aluminium windchimes (normally a ubiquitous and gentle soundtrack to the Australian rural homestead), flailing against the rims and membranes of the kit in a chaotic flurry, create a barrage of stochastic rhythms and accidental harmonies, exploiting the high frequency ranges of metallic sound. "Flesh", in complete contrast, employs the exclusive use of the body; fingers, hands, fists and elbows strike, coddle and pummel the various components of the drumkit, coercing and coaxing more rounded, but equally uncompromising and slightly uncomfortable bottom-end sounds from the instrument. Together, these pieces are representative of a peculiarly Australian approach avant garde improvisation. Whilst sonically detailed and meticulously recorded, there remains an edginess, and intentional 'dirtiness' to the sound as a whole.

Kevin Drumm - analog synthesizer, electronics
Jérôme Noetinger - electronics
Robert Piotrowicz - analog synthesizer, guitar

Wrestling: The Angel wrestles with Jacob, he fails and does not give Jacob a new name.
Rest: After a rest the Angel tries again, once again he fails and falls into Jacob's arms.
Concept of the record, edit and mixing by Robert Piotrowicz.
Recorded at MUSICA GENERA FESTIVAL 2005, 29 of May 2005

A live segment from the 2005 edition of the Musica Genera Festival, which - taking a look at the participants - does not need excessive descriptions. Analogue synths, electronics and guitar promise (and deliver) several minutes of engrossing turbulence, the kind of tension that only improvisers willing to give up schemes and abandon themselves to the flow of instant creativity are able to elicit. This has to be played loud - and don't go hiding when the going gets tough.
(—) Massimo Ricci (Touching Extremes)

Live recording from 2005 of summit between three noise scientists. Lots of ominous vacillations and dark bellows on the A side, more clattery on the flip. Must have been quite amazing live, but my ears are probably happier with these snippets , over which I maintain complete volume control.
(—) Byron Coley (Wire)

This international wrecking crew despatch endless waves of scuttling soldier scarabs over the synapses of a surging supercomputer, snapping all the wrong wires and chewing out system defunct system static. Meanwhile, belched electronic spew eviscerates redundant texts like low-grade explores doing a hatchet job on dead hieroglyphics carved in clastic sandstone. It's a sterling effort all told, topped with a heart-gladdening bout of seraphic- style puglism on the front sleeve"
(—) Spencer Grady (Record Collector)

One of two handsomely produced 45s issued by the Polish label Bocian, this one features two excerpts from a 2005 live show by what I guess one could call a power trio. Now, I'm not as big a fan of Drumm as many though I've no doubt this assemblage is quite capable of producing a healthy blast of noise, but they seem not so well served by these brief snippets. Artur Nowak, who recorded the event, mentioned how great the entire show was and it well may have been. Here, we get two parcels of ear-rending sound, mere peepholes into the concert. One can imagine its entirety, I suppose, and the samples are tasty morsels of the kind, but...I guess I have to question the strategy in such a release. It may have been a matter of this or nothing, though, and fans of the three musicians will doubtless consider it worth the expense. It does have its (short) moments.
(—) Brian Olewnick (Just Outside)

Recorded six years ago, but just released this year, this is a three way collaboration with some of the biggest names who inhabit that gray space between musique concret and harsh noise. The result is an all-too-brief work that covers the strengths of both scenes quite nicely..
On "Wrestling," there are layers of squelchy static atop an uneasy thud that almost feels rhythmic, neither of which becomes too loud to overshadow the other. Between the sputtering analog synth cast-off noises and dynamic, abstract clattering, there is a sense of both electronic chaos and careful, but abstract structures.
"Rest" opens up the doors to noise a bit more, heralded by an opening, expansive blast of noise that feels like an Incapacitants bit that at least initially pulls away to leave legions of little analog birds to chirp away. These hyper synth burps are contrasted by what sounds like some big, dumb guitar blasts, ending up in a more raw, less controlled context. The latter portions are a bit more menacing, sounding like splashing water and plumbing pipes bursting in a dark, cavernous space.
Considering this is only a 7", it is all too brief in length. While occasionally it sounds like three distinct artists doing their own thing, those moments are mostly erased by the ones where it all comes together and clicks, like a really good free jazz record.
Creaig Dunton (brainwashed.com)

What is your name?
Wrestling is a unique 7" single consisting of a 3 way tag team made up of Kevin Drumm (USA), Jérôme Noetinger (France) and Robert Piotrowicz (Poland). All 3 artists have solid reputations in the world of experimental electronic music. Here they have it out with one another and the machines in front of them. The result is a devastating electronic maelstrom divided into 2 parts:
Wrestling: The Angel takes on Jacob. Frequencies hurtle around the room as the listener is taken into a world of sound both compelling and destructive.
Rest: The battle continues until the Angel fails to defeat Jacob. Our intrepid explorers wrestle the last gasp out of their chosen arsenal before everything collapses in an exhausted heap.
Recorded at Musica Genera Festival in Szczecin/Poland on 28th of May 2005. This is physical sound on a physical format. Like the old days when Angels wrestled Men and the Earth spoke loud and clear about it's past, present and future.
Again, I ask you, what is your name?
(—) Mark Harwood, Penultimate Press

(...)a live recording from May 2005, a trio collaboration between Kevin Drumm (analog synthesizer, electronics), Jérôme Noetinger (electronics) and Robert Piotrowicz (analog synthesizer, guitar). Two furious slabs of improvised noise here. Side A (perhaps called 'Wrestling') has a battle of sounds, wrestling of analogue sound creators, trying to make out who is the strongest here, machismo in music, perhaps? The B-side (perhaps called 'Rest') start out in a similar loud mood, but here things are getting more and more quiet as the piece evolves and end with something of a machine being switched off. Nice one.
(—) Frans de Waard (vitalweekly.net)

I'm not sure if the title is correct, anyway Krakowiak works with a cymbal and a microphone. In the first half, a little more "body" comes from classic sounds of manipulated metal; think Christian Wolfarth and the likes. In the second, the lone source is bowed to get nearer to a tense type of minimalism, emaciated upper partials utilized as a sort of a prelude to a harmful event that in fact does not happen.
(—)Massimo Ricci (Touching Extremes)

Krakowiak's 45 works far better with regard to this medium and, to these ears, is a stronger set of music. Two pieces lasting 4'59" with Krakowiak on cymbals and microphone. By description, it sounds like nothing unusual: one with stroking of the surface (with the mics? not sure), generating keening overtones and unaccompanied by low-end rumbling from some other source, the other a more delicate version of same, the deeper tones taking on a very poignant quality as though commenting on their higher-pitched neighbors. But the particulars of the pieces are somehow unique and very, very rich. I imagine there are countless rubbed or bowed metal recordings about--this is one of the better ones I've heard. Ok, I admit, I would have liked to have heard this music at greater length, but still...
(—) Brian Olewnick (Just Outside)

"A" shows its sonic roots the most clearly, with shimmering cymbals that are pulled into something far more expansive than they are, occasionally met with a deep bass roar never overshadows the otherwise ebullient metallic ringing. There's such a sense of grandiose flourish to be heard that it almost sounds like a symphony of cymbals rattling together in dramatic fashion.

On the flip side, "P" begins much more pensive, with quiet and subtle sounds that are initially soft, but stretch into looped, oppressive tones that are more drone oriented and just overall convey a darker vibe in comparison. Compared to "A" there is a more notable sense of restraint at the introduction and closing moments, and a greater embrace of drone in the middle.

Both of the equal-length pieces on here sound completely different from each other, but they also demonstrate Krakowiak's careful attention to detail and compositions that strike a delicate balance between chaotic and structured. The sparse titles and artwork just add an extra layer of mystery that strengthens the entire package.
(—) Creaig Dunton

On one hand, Krakowiak's recordings should not be a surprise to those who follow his activity on the free-improv scene, after all his recordings continue to penetrate the acoustic properties of individual percussion instruments. However, when this scene is slowly moving in the blind alley of predictability, and critics increasingly yearn for newer sounds and surprising collaborations, the latest Bocian Records release is a strong contrast. First, Krakowiak deliberately departs from the hi-fi aesthetics being associated with recordings of artists applying a similar approach to the percussion instruments (such as Christian Wolfarth, Jon Mueller or Jason Khan). These two pieces, recorded without any effects or processing are the sound of a single cymbal recorded with an old cassette tape. But this is not a tribute to the trendy, lo-fi aesthetics and Hypnagogic,the imperfections and the characteristic "analog" sound is Krakowiak's goal in itself, not a postmodern game of the genre convention (which many show in recent years). Finally, precision and attention of theserecordings make me think of Harry Bertoia's sculptures, or vitality of ideas and textures of Morphogenesis. A vitality, which often is to be sought among contemporary drone music publications.
(—) Daniel Brożek

Tomasz Krakowiak uses a cymbal and a stereo microphone on his 7". Both sides last exactly four minutes fifty-nine seconds, and one piece is called 'A' and the other is called 'P'. He plays the cymbal by using objects to create rotating sounds, to lift up the cymbal make it sing in overtones. Somehow I think these pieces are layered from various recordings, but of course I might be wrong. 'P' is the more droney version of the two, 'A', the more acoustic one. Both pieces aren't flawless, one hears small 'mistakes' of whatever it is to sets the cymbal to vibrate, which adds, me thinks, a nice human touch to it. Maybe all a bit too short for the format of a 7", and a 10" would have been more in place. But nice it is for sure
(—) Frans de Waard (vitalweekly.net)

While there doesn't seem to be any specific concept to unify both sides of this split LP, there doesn't need to be. Instead, it is a strong paring of a relatively young artist and one who has a long and established career, with both providing material that is quite different from each other.

The Robert Piotrowicz side consists of one long track, "Clinamen 3," that continues his careful study of the analog modular synthesizer. With each release, his ability to structure and compose has become more and more polished, to where pieces don't have the raw, improvised sound usually expected from experimenting with analog instruments, but instead represent carefully arranged and structured pieces. "Clinamen 3" is essentially three movements in a single piece, the first characterized by a high frequency tone and an erratic rhythmic bass pulse that slowly builds upon one another until it creates a wall of symphonic roar.

This is eventually paired with a low-end passage that is quite dark, and infests the symphonic leads with a sense of evil and menace, the two writhing together in a horror movie haze. It suddenly drops and comes back in a different form, the same basic building blocks rearranged in a more chaotic, disorienting form that defines the second movement. The third goes all out, mixing a low end thump with a siren melody lead, dropping subtlety in favor of pure force, before going out like a lamb with a short, simple melodic coda.

In contrast to Piotrowicz's bombast, Von Hausswolff instead opts for quiet, textural studies of sound. The first of his two pieces, "Ritual Shaving of an Ass in Belgium (aka Eating A Piranha Wouldn't Be So Bad The Way Things Are These Days)," besides being a strong leader for song title of the year, is based upon loops composed for an installation performance. The textures are light and scratchy, with careful variation on the crunchy textures, with the vaguest insinuation of bass hidden.

The following piece, "Ritual Shaving of an Ass in Poland (aka The Snoring Innocence)," is rawer, static, heavy, and abrasive. It's short but it seems to capture extraneous sounds and audience conversations on ragged audio tape, which is then used and mangled to create an approximation of what would be considered a "noise" track, but its worn, decaying nature gives it an historical, hollow quality that makes it quite unique.

Both the artists are doing drastically different things from one another, yet the pairing of them together nicely demonstrates opposite ends of the experimental/avant garde electronic genre. It is one of the rare cases where a work is actually strengthened by the great disparity of its contents, and each side seems to make more sense based upon its accompaniment.

(–) Creaig Dunton, Brainwashed, 12.09.2010 A split album by two masters of 'loud drone music' with an entirely electronic background. Piotrowicz already surprised us with 'Lasting Clinamen' on CD (see review in Vital Weekly 621), and this is now continued with 'Clinamen 3', also recorded using analog modular synthesizer. He plays what seems a loud, looped drone (no doubt repeated within the machine), which is piercingly loud at the start, but just like his great CD, he knows how to create a subtle piece music after that. It grows and it grows with some great lingering intensity. More complex than the CD release, this is simply another great piece of music.

On the other side we find Carl Micheal von Hauswolff, who always impresses me with his conceptual approaches. The first of the two pieces was made for an installation using loops of sound corresponding to the colors of the rainbow. Some high pierced static sounds move over into a very low (but not silent) dark rumble. I guess there is some connection to colors and herz waves here, which I no doubt fail to see, but its surely a strange piece of music. The second piece has the sound of people talking and I am to believed, through the press text, that these voices are from the galleries in which the work was presented - faint traces are apparent. Like many other works of Von Hauswolff this leaves the listener puzzled behind, but you can simply also be amazed over the beautiful quality of the music. I did. I may not understand the concepts behind it, but I can see/hear the beauty of the works.

(–) Frans de Waard, Vital Weekly #742, 10.08.2010 Robert Piotrowicz's latest CD, Lasting Clinamen (Musica Genera, 2009), a set of compositions for a modular analogue synthesizer, was acclaimed as a fully mature work, a result of his steady development as an artist. A follow-up to that album, "Clinamen 3" is, to a large extent, a move towards new areas. Its sonic structures feature even more timbres, its dynamics and complexity are greater, while its seemingly meditative quality increasingly gives way to sonic exploration of the instrument's possibilities. And his composition skills are not merely shown in the dynamic arrangement of the sonic textures, but also in finesse in deployment of rhythm, harmonies which lend the piece a remarkable spatial quality, and finally, like in Lasting Clinamen, in a multi-thread narration. Notably, it is narration that is in a way a trademark of Piotrowicz's diverse body of work, whether the Rurokura series (including Rurokura and Eastern European Folk Music Research vol. 2 on Bocian Records), his improvisational music collaborations (with Anna Zaradny, Valerio Tricoli , Oren Ambarchi and Burkhard Stangl) or the music he has produced for theatre and radio plays.
As a result, "Clinamen 3" is an evocative and complex sonic structure, which has little in common with run-of-the-mill drone music or noise music. It rather brings to mind sound sculptures by Harry Bertoi, sound structures by Yoshi Wada and Eliane Radigue and space compositions by Alvin Lucier and Pietro Grossi, an association which has recently been affirmed by inclusion of one of Piotrowicz's pieces in the sixth instalment of the Sub Rosa label's An Anthology of Noise & Electronic Music compilation series.

CM von Hausswolff's compositions here appear to be polar opposites to those of Piotrowicz. In terms of the nature of sound and its production, they feature a classic lo-fi sound, in stark contrast with his previous, accomplished and sonically elaborate works (recently on Auf Abwegen and Die Stadt labels or in collaboration with John Duncan). Nevertheless, one may find them to be a continued exploration of the subject prevalent in his audiovisual compositions and sound installations: relations between the physical qualities of sound and the actual or hypothetical location of their source. Thus, although realised in a direct manner in Piotrowicz's piece, in von Hausswolff's the concept of a spatial sound composition is only reflected through the context of their creation.
The first piece is part of the Rainbow Audio Transformation project, realised at Antwerp's Extra City gallery in 2009. Invited by Carl Michael himself and Nico Dockx, the participating artists (Jana Winderen, Brandon LaBelle and Mike Harding among them) prepared sound loops corresponding to the colours of the rainbow (plus black and white), which altogether constituted the installation. The recording is a sound loop corrresponding to the colour white, produced on the basis of 12 signals from the 400Hz-8kHz range, subjected to multi-filtering through two oscillators. Despite a rather traditional approach employed here, the final result proves the sonic awareness of the composer and whets one's desire to experience the full version of the project.
The second track is a mix of sparingly made recordings from Warsaw and Stockholm. They seem a distant echo of the first track captured among the conversations in the audience. This peculiar reference to both the impact of sound in space and the degradation of sound during its emission makes a startling comment on the function of noise music aesthetics in contemporary realities of galleries and concert venues, accentuated by the grotesque titles. Or perhaps is it a bold statement about the jadedness prevalent among the world's sound art society?

text Daniel Brożek / transl. Przemysław Chojnacki

A "wedding" side comprises hordes of squealing emissions derived from boy choirs and orchestras of ocarinas taped, respectively, in 1967 and 1928. The rest - "Funeral" - is the reworking of a school girl band performing on the 10th anniversary of Emil Cioran's death, marvellously gloomy at the outset before leaving room to a series of tiny openings and variations. Both faces belong to a composer who always demonstrates that he knows what he's doing. Concise and brilliant.
(–) Massimo Ricci (Touching Extremes)

Robert Piotrowicz is one of the most prolific artists in the Polish experimental and improv music scene. As an instrumentalist and composer he works most often with Anna Zaradny, Burkhard Stangl, Zbigniew Karkowski. Other collaborators in recent years included Jerome Noetinger, Xavier Charles, Lasse Marhaug, John Hegre, Valerio Tricoli, John Butcher, Tony Buck, Oren Ambarchi, Kevin Drumm, Kasper T. Toeplitz, Lionel Marchetti and others. This 7" features three pieces based on folk tunes, reconstructed following the artist's "off the beaten track" research in Poland, Ukraine and Russia, and processed with the analogue modular synthesizer. Each side is noticeably different from the other and brings in something unexpected, new and original. It has a distinct path to follow and turning points. Thus, on the "Wedding Side", out of a mass of synthetic sounds one can discern outlines reminiscent of folk tunes, kujawiak and oberek, blurred by the hurricane of analogue noise. The "Funeral Side" brings mysterious repetitions which, evolving from faint piano, seem to be about to reach a level of trance-inducing drone mantra, which they never do and the tune remains poised. Wedding and Funeral as a buckle keeping together two parts of the same story. Reference to what makes life and finishes life. A piece definitely worth to be remembered !!! Limited to 170 copies only with art works of Anna Zaradny and Lasse Marhaug.

(–) unknown author
http://sound323.com/pages/view.php?stockcode=br1 Ultra-limited pressing of this single by Poland's Robert Piotrowicz, here treating us to three cuts that, respectively, take up the 'Wedding' and 'Funeral' side via some recordings, purportedly, of a Greek Catholic School Boy Choir, the Molomotki Ocarina Orchestra and a School Girl Band subsequently hammered way beyond all recognition. Occasionally rhythmic, wound like tightly coiled metallic tubes and definitely and defiantly 'out there' in the best possible sense, this little pearl is one to cherish. Sweet.

(–) Richard Johnson
http://www.fourth-dimension.net/index.php/ae-blog The latest release from this up and coming Polish sound artist steps away from his usual preference for walls of digital noise and instead plunders through tapes of traditional folk music for source material, leaving enough evidence of its pedigree there, but taking it to far off realms of sound.

The A side, titled "Wedding," opens with "Greek Catholic Stork Boy Choir of Ozerki Village," a rapid fire pulsing slab of cut up jittery notes. There's obviously underlying musical elements there, but sped up, flanged, and covered in a digital noise sheen so as to not completely give up its source. The second piece, "Molomotki Ocarina Orchestra," keeps the same tone but locks it into a rhythmic loop that exhibits the smallest changes.

While the "Wedding" side was rapid, spastic and joyous; the "Funeral" side is appropriately slow and meditative. "School Girl Band of Gromovaya Balka" takes up the entire side B. It's a piece that uses the same type of source sounds as the A side but instead sequences them into a slow orchestral dirge. Here, knocking percussive elements, heavy sub-bass, and open, shimmery notes create an expansive drone.

The sound is one that's a bit too harsh for the musique concrete crowd, yet not speaker-damaging enough for the noise kids. Thus, it exists in its own purgatory, waiting for listeners who are willing to step outside their comfort zone and embrace something different.

(–) Creaig Dunton
http://brainwashed.com/index.php?option=com_content&task=view&id=8082&Itemid=1 This is a wonderfully strange little release, three all-too-brief pieces, each based (one assumes) on archive recordings of folk music, as their titles would seem to indicate: "Greek Catholic Stork Boy Choir Of Ozerki Village (Soldiers' Meeting, Autumn 1967)", "Molomotki Ocarina Orchestra (Open Air Show, Spring 1928)", "School Girl Band Of Gromovaya Balka (Performed On 10th Anniversary Of Death Of Emil Cioran)" - though you'll have quite a hard time trying to spot the originals in Piotrowicz's treatments. The disc is supposed to played at 45rpm, I read, but as usual I screwed up first time I played it and stuck it on at 33 (it's better at the faster speed, for sure, but has a certain torpid charm when played slower..). The two tracks on side one take tiny fragments and loop them hypnotically - one wishes they'd develop more, or at least go on a bit longer, but alas no. The B-side ("Funeral") is more leisurely, and a richer listening experience. It's a ghostly affair, vaguely reminiscent of Oren Ambarchi but replacing the warm glow of the Australian dusk by a hard frost on a winter morning in Poland. Cioran, you may recall, is Asmus Tietchens' favourite philosopher / poet, and there's something of Tietchens' inscrutability to this music. I seem to have missed out on Volume One - and hope there are further volumes to come, and maybe a full-length CD on Piotrowicz's splendid Musica Genera label at some stage? Live in hope.

(–) Dan Warburton
http://www.paristransatlantic.com/magazine/monthly2010/02feb_text.html#7 I guess it is a sheer waste of time to bring out how well experienced and imaginative musician Robert Piotrowicz is, which is of course a fact out of the question. What struck me at first was that Robert gives a really interesting outlet as a composer which to me is a novelty bearing in mind that most of the works I know of him are improvised pieces. Next thing is that the whole music that this 7" contains very smoothly moves out of easy classification as plunderphonic or tape music which felt this way at first. Robert's composing technique falls into "individual" file and it is not mere exaggeration to say that this is a great advantage here.
The source material used here are the recordings of the past - folk music, sometimes field recorded somehow makes a perfect blend with composition which in this case isn't modular synth based - Robert's speciality. Flexible and tense underneath as well as of certain depth which I like when it comes to cross - contextualized works based on lost world music.
More?
Perfect cover for perfect music which reminds me rather of cheap marriage invitation leaflet rather than usual grubby vinyl cover.
Wedding and Funeral as a buckle keeping together two parts of the same story. Reference to what makes life and finishes life. A piece defintely worth to be remembered.
(–) Astipalea Records
http://felthatreviews.blogspot.com/2009/11/robert-piotrowicz-rurokura-and-eastern.html