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CD
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KR 008CD
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2012 release. Four sonic assaults by the industrial/drone/dark ambient experimentalist Cezary Gapik. Born in 1963 in Czestochowa, Poland, Cezary Gapik's formative musical experiences after the punk revolt were the more experimental outings of Public Image Ltd. and industrial pioneers Throbbing Gristle and Cabaret Voltaire. The popularization of the computer as a creative tool in the mid-'90s gave birth to Gapik's present extensive style: the isolationist projects of Mick Harris (Scorn, Lull) are as traceable as are 20th century contemporary avant-garde composers (Stockhausen, Xenakis, Ferrari) and masters of minimal music (Phill Niblock, Eliane Radigue). For his intense synthesis of multi-layered, heavy industrial drones, cathartic noise, haunting murmurs and field recordings of unrecognizable origins, the uncompromising sound artist coined the term "ambient depressionism." Using prepared instruments, various objects or computer-processed synthetic sounds, Gapik creates dense sonic paintings, rich in color and radical in atmosphere. Having self-released numerous CDRs in his ongoing series of the "sound sketchbook," The Sum of Disappearing Sounds is one of the key artistic works of this contemporary master in the dark ambient/industrial/drone scene of today.
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LP
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WHITEBOX 008LP
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The White Box label presents a release by Polish electronic experimental/harsh ambient drone musician Cezary Gapik. Gapik's deeply unsettling soundscapes go beyond the primal "power electronics" assaults (which the label adores and thrives on), of early Whitehouse and Sutcliffe Jugend. They go far beyond the capabilities of many of the supposed "dark ambient" artists releasing music today. Primitive forms have been discarded in favor of an articulate attention to detail, all for the benefit of the discerning listener. Fans of diverse, forward-thinking sound artists such as Philip Jeck, Kevin Drumm, Tim Hecker, Carlos Giffoni, Phill Niblock, Peter Rehberg, Fennesz and other SERIOUS people should take note. Gapik's sonic assaults and tonally perverse audio structures house such progressive depth, that upon discovering this music, White Box concluded there was simply too much good material to contain in a single release. Presented here is part one of a triptych; "Contrast I" comprises two pieces, and perhaps not surprisingly given its title, features two very different compositional approaches from the same artist. From the opening moments of side A's monolithic "#0473 [Tremor]," Gapik's music asserts an unflinching, confrontational prowess all its own; an articulate slab of cold, metallic sound, unrelenting, aurally oppressive and executed with total precision. If we're talking power electronics here (and as far as side A goes, we are), it doesn't get much more forward-thinking than this. Side B track "#0458 [Drowsiness]," offers an altogether different approach to its side A counterpart, its peculiar, clustered tones slowly creeping in and out of phase, seemingly designed to throw off the listener, traversing dark psychedelic territories. White Box will be releasing "Contrast" Parts II and III further into 2011. Limited edition vinyl release of 400 copies only. Features gorgeous sleeve art from Berlin-based painter Suse Kipp.
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