out of print
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
|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, Sound 232 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, Brainwashed
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, Fourth Dimesion 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, Paris Transatlantic 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.
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, Felthatreviews