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LP
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MER 001LP
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$27.00
PREORDER
RELEASE DATE: 10/17/2025
Wrong Filament embodies Robert Piotrowicz's creation of fictional traditional music -- not studied but invented, a utopian and oniric construct that becomes tangible in sound. These imagined traditions act as communal forces of music-making, resisting dominant structures of power. The album unfolds in six dense compositions built on rhythm, repetition and minimal melodic gestures that draw on archetypal patterns of Eastern European traditions. Entirely synthetic yet strikingly instrumental in character, they develop as autonomous sound events, expanding into multi-part forms that evoke the physicality of ensemble performance -- as if played by an imagined community of musicians. Rather than reconstruction, Piotrowicz invents forged dances -- a pre-techno of sorts, where complex meters and dense textures point to a parallel history of collective sound beyond industrial uniformity. They imagine a utopian and fictional genealogy of collective sound: one where industrial modernity yields to more unstable, communal energies. This is celebratory music with invocatory charge: calls to dance, echoes of ceremony, microtonal melodies shaped by emotional weight, and traces of Eastern ornamentation stretched through synthetic means. Wrong Filament sacralizes performance through sound alone, spinning a world where specters of collective experience vibrate against the limits of rupture and resistance. These pieces confront the traces of violence inscribed in body and memory, yet also affirm freedom, emancipation and integration. They manifest celebration, identity and resistance while opening a path toward liberation and shared needs that exceed social, private and intimate categories.
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CD
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PP 056CD
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$14.50
PREORDER
RELEASE DATE: 6/6/2025
Polish composer and sound artist Robert Piotrowicz presents his first work for Penultimate Press, one which outlines an uncanny sound world with a series of fictional organ pieces. Whilst resembling a pipe organ alongside other acoustic sources all material is strictly synthetic. The impression of air being swept through the bellows -- false. The spatial organization suggesting it was recorded in large physical space -- false! The long middle solo passage in "Noumen" must have been performed by some kind of wind instrument, no? False. All of these are elaborate tricks of the ear. The music of Afterlife is an artificial construct, one that is not able to be played on a traditional 12-tone organ, especially as one encounters a tuning based on 1/3-tone intervals. The result are three compositions which comprise a rather unique harmonic composition. One that comes across both familiar and foreign. Afterlife is an ambitious exploration of sound modelling and sound manipulation. Manipulation of both the tools deployed and to the listener with regards to the synthesis of acoustic deception. The result is a bold and dramatic shimmering mass of music. A fluid and visceral audio rendering with sheets of colorful sound pouring around the listener. Like much of Piotrowicz's output this is more extraordinary exploration of the constituent relationship between harmonic and frequency components whilst investing a deep engagement with the synthetic as acoustic ruse.
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LP
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MGV 009LP
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Euzebio by Robert Piotrowicz does not fit any category. What this multi-colored electronic instrumentation aims to channel is the acoustic experience and energy of the performing musician. As a result of a wide range of creative means used, the narrative language of the compositions bursts with tension and mystery. The album includes slow hypnotic passages of stone electronics ("To Fleh"), vigorous tempos and circular repetitions ("Euzo Found Gitar"), sprawling artificial soundscapes, back-to-origins ethnicity (ethnical subsoil and elements) liberated from any geographical identity ("Ocarina Wars"), as well as dreamlike minimalism with unpretentious cinematographic traits ("Flares Et Wasser Hole"). Some of these unusual melodic patterns may resemble the corporality of the animal throat rather than any human-created instrument ("Electros Spong"). Although Euzebio was recorded with synths, the final shape of individual tracks and the album's overall acoustic image go far beyond any electronic genre. The instruments have not become a goal in itself. They were merely a building block, a tool that helped achieve the album's extended structure -- a diverse whole with rich spatial features.
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