|
|
|
|
viewing 1 To 21 of 21 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
RECOG 044LP
|
The sun, kissing the forehead through half-closed blinds; the night, coming uninvited through a windowpane like a damp, sticky shroud. Light and darkness, solid foundations and elusive glimpses of parallel realities. Armies of digital insects -- taken aback by warmth of one brave heart, '90s chillout rooms updated for today's vast and desolated space full of fragile souls desperate in their look for any kind of communion; "artificial intelligence" after three decades of wandering, trying to finally find a helping hand, solace and peace. Shimmer and shine. Welcome to Pristine, a new recording from the mind of Jacek Sienkiewicz. For the past years Jacek has been escaping his image of relentless producer and performer of driving, multi-layered club music. His most recent works include deep ambient records, abstract electro-acoustic experiments, and super smart, stripped-down yet incredibly complex contemporary electronica. The last few records, mostly on his own label Recognition include albums with Max Loderbauer and AtomTM, reinterpretations of works by Bogdan Mazurek of the legendary Polish Radio Experimental Studio, scores for radio plays and last year's massively overlooked "Krasz", music for theatrical performance of Ballard/Cronenberg's "Crash". "Pristine", a labor of love, is at times abstract and atonal, at times breathtakingly beautiful and tender. Eight tracks written and performed in Jacek's unmistakable, singular style, and covering many grounds -- abstract, electronic forms, neo-classical wonders, super tight compositions and freeform, jazz-like improvisations and stripped-down rhythms. Different moods, machine-translated and reverse-engineered in a variety of recording locations, make up this exceptional record. Shimmer and shine, immerse and enjoy. Co-financed by the Minister Of Culture And National Heritage of Poland. The project has been implemented in co-production with Recognition Records and the National Centre for Culture of Poland. Includes download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2x12"
|
|
RECOG 045LP
|
The Tumult Hands duet is made by Jacek Sienkiewicz and Jerzy Przezdziecki. The producers whose composition has -- to a large extent -- defined the Polish techno music. Sienkiewicz -- as early as Recognition -- started his adventure with music in the late 1990s. Subsequent records, already under his own name, were released, among others, at Cocoon Records, Trapez, Klang Elektronik, and WMFRec. Przezdziecki started publishing a little later. Over the last two decades, he has been presenting various types of electronic music, among others, as Praecox, Epi Centrum, and Jurek Przezdziecki. Tumult Hands has two EPs on its account -- Tumult Hands EP (2014) and Tropic Factory (2016). Both were published by Recognition. A full record was a matter of time. The album titled TH has been prepared for many years. The repertoire was created mainly out of improvisation. As artists themselves say, "it is the result of discovering and accepting a chance event." For both producers, close contact with instruments was important during their composition; the type of interaction between the maker and an electronic device. Individual works have been maturing for a long time. Paradoxically -- the lapse of time did not cause them to be ageing but vice versa -- allowed them to mature and gain natural weight. TH brings very diverse music. In part, it is the repayment of the debt that Sienkiewicz and Przezdziecki incurred towards the most creative techno period, that is, the '90s of the 20th century. The lovers of experimental dance music from before the quarter of the century will easily capture in the duo's themes the art of Cristian Vogel, producers known from the tin series of Chain Reaction record company, or early recordings of Richie Hawtin (Plastikman, F.U.S.E.) This is a very similar, non-standard approach to sound structure and an original approach to rhythmic structures. Minimalist melodies, accompanying, e.g. the opening of the "enter TH" or "pow" set, contribute to the composition an element of some sublimity and metaphysical anxiety. Obviously, it is still the dance music but the duet -- to some extent by abandoning the club functionality (understood in the techno convention) -- has given its music a definitely sophisticated, artistic elegance. Turquoise and black vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 043EP
|
Most recently Jacek Sienkiewicz has been mainly preoccupied with experimental music -- his explorations of outer limits of sound resulted in three albums released already in 2019, with two more to follow by the end of the year. So, it was good and perhaps refreshing to hear his surprising return to the dancefloor with Lightin, an unexpected summer afterparty anthem. By popular demand, it's released on vinyl in its full, 11+ minute glory. Lightweight, gentle, and tuneful, propelled by a syncopated rhythm, it rolls like a steam engine taking you to your favorite holiday destination. Side B brings us another new track -- "Tracker" is definitely built for clubs and designed for peak time moments, be it in a cramped, dark basement or a big room at a festival. This EP is Jacek's first new club-oriented record on his Recognition label since Hideland (RECOG 040LP, 2016) -- and a teaser for an all-new album, due next year.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 042LP
|
Jacek Sienkiewicz's IMOW, or "In My Own Wave" is a moody record. Although overtly experimental in form, it's quite different to Sienkiewicz's abstract, improvisational albums recorded with Max Loderbauer or AtomTM. Clocking in at only 35 minutes and comprised of eight tracks, IMOW is several years of work distilled into a dense, concise whole. Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best: his constant struggle to find a perfect balance of flesh and machine, or to translate human emotions to sound by means of a modern studio is manifested here in its purest, most consistent and, surprisingly, very accessible form. From subtle drones, through chants and rhythms echoing in mountainous chambers, to innumerable insect-like sounds and tiny details, it's an encephalogram recorded to tape (or disk). With all its complexity, it's not overwhelming: the meticulously constructed compositions leave both space for the sounds to breathe, and for the listener to fully experience it, without being bored, tired, wishing for less or being hungry for more. And there's beauty in this record, and hope -- in the world of overpowering darkness and constant noise IMOW feels like a peaceful trip into the untouched nature with all its wonders -- offering in equal parts rest, strength and inspiration.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 041EP
|
Krzysztof Ostrowski emerges again on Jacek Sienkiewicz's 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 artists, from attention to detail to a kind of serious melancholy present in their music. Ostrowski's record 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.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RECOG 006CD
|
Recognition opens up its archives and invites you to a futuristic sentimental journey with respective stages set by the 9702. 9702 contains a set of varied tracks recorded within five years after Warsaw label's launch and its first release. Extended compositions and short improvised sound notes resemble eccentric propositions of such labels as (early) Warp or Rephlex, standing next to melancholy-saturated minimalistic techno and abstract collage structures, which prove to share many characteristics of clicks n' cuts movement of the second half of the 1990s. Usage of human voice samples is an outstanding feature of many of these archive materials. Entirety of mastered-anew, 9702 contains all principal trademarks which distinguish Jacek Sienkiewicz's creations and his label Recognition: utmost care about depth of sound sphere, experimental inclinations, and focus on complex motorik aspect of the rhythmical base. This collection of music from Recognition's first five years, surprising for its freshness and sheer impetus, is a must for all fans of Jacek Sienkiewicz and Polish electronic music of the turn of the 20th and 21st centuries.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12" + CD
|
|
RECOG 039EP
|
Recognition opens up its archives and invites you to a futuristic sentimental journey with respective stages set by the CD release 9702 (RECOG 006CD) and 9799, which includes a 12" along with a CD insert of 9702. The four vinyl exclusive tracks come from the time of Jacek Sienkiewicz's first record Recognition (1999). These earliest recordings openly refer to a formula and rhythmical density of Detroit techno, although the end result of this confrontation turns out to be surprisingly "separate" and individualistic. The material on the CD insert, 9702, contains a set of varied tracks recorded within five years after Warsaw label's launch and its first release. Extended compositions and short improvised sound notes resemble eccentric propositions of such labels as (early) Warp or Rephlex, standing next to melancholy-saturated minimalistic techno and abstract collage structures, which prove to share many characteristics of clicks n' cuts movement of the second half of the 1990s. Usage of human voice samples is an outstanding feature of many of these archive materials. Entirety of mastered-anew, 9702 contains all principal trademarks which distinguish Jacek Sienkiewicz's creations and his label Recognition: utmost care about depth of sound sphere, experimental inclinations, and focus on complex motorik aspect of the rhythmical base. This collection of music from Recognition's first five years, surprising for its freshness and sheer impetus, is a must for all fans of Jacek Sienkiewicz and Polish electronic music of the turn of the 20th and 21st centuries.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RECOG 005CD
|
Cosmos of sound phenomena is devoid of a distinct beginning and end, fluid and polymorphous. Stream of sound is continuous, no matter whether and which volatile events are registered, and which ones are omitted. It is a complex state which transgresses borders defined by source, signal, and mechanism of perception. Pastoral/tropical soundscapes and post-brutalist compositions by Max Loderbauer and Jacek Sienkiewicz from End seem to evoke those situations where you can actually hear objects, shapes, and time flow itself, a sort of synesthesia which erases and obliterates beginnings and ends of events, processes, and phenomena. Apocalyptic and contemplative spaces generated by this pair of seasoned sound creators explode genre bastions of ambient and IDM, leading into the spectral areas once explored by such pioneers and Popol Vuh or Ilhan Mimaroglu. Above all etheric and extra-sensitive, End marks the meeting of two incurable individualists, who use various tools of their trade to come up with a surprisingly atemporal effect, an insistent pulse of detail on an ever-morphing background. Without vivid commentary and recognizable soundbites of the present, End is simultaneously an interesting projection of hopes and anxieties of the new age. The core of tracks included on the record were produced on the occasion of Max and Jacek appearing as a live duo during 2015's Berlin Atonal festival, which resulted in well received Alpine-Tara-Himalayan EP Ridges (RECOG 035EP, 2015). Remaining compositions are natural conclusion of their friendship, conversations, meetings, trips, and recording sessions that operate according to the rule of free improvisation with a reduced instrumental setup. "West Ridge" and "East Ridge" appeared on Ridges.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RECOG 040LP
|
Double LP version. Jacek Sienkiewicz presents Hideland. Sound and rhythm are effective means of individual's self-defense in face of chaotic steamroller of everyday life. Hiding in a familiar yet simultaneously hardly recognizable parallel space does not have to result from the need to escape the world or nurture one's ego. Too many times to mention, music appearing under Recognition imprint served as a peculiar type of a vehicle of survival and a tool for internal transformation. Hideland, the new record by Polish electronic music producer Jacek Sienkiewicz is released precisely a year after Drifting (2015), which largely explored tropes of classical club techno sound. It is Sienkiewicz 's expedition into the unknown, exploration of topographical margins, both possible and impossible. The nine tracks comprising this album go beyond easy-to-pigeonhole genres, creating a microcosm of utopian sound constructs. This surprisingly unobvious and precisely composed release could be fascinating both for loyal fans and for new listeners looking for threads of experimentalism. In "Desert Plan" and "Kingdom of Lo" one can hear references to extra-temporal Detroit harmonies, while the minimalism of the title track or the alchemic trippy house of "Radionist" provoke questions rather than serve ready-to-use answers. Melancholic compositions of mosaic-like structure ("Gone") are distinctly contrasted with miniatures saturated with distant galaxy hum like "Summer 2016". From enigmatically rhythmic opener "Hide Away", to 12-minute-plus "Last Run" which sets obsessive percussion against impressionistic sound splashes, the constantly morphing and the self-contained 3D landscape of Hideland is a perfect place of seclusion, refuge, and hiding for lost souls and seasoned listeners alike. It's another intriguing proposal in Jacek Sienkiewicz's growing discography, but above all, it is a laboratory where dreams and artistic visions metamorphose into concrete reality.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RECOG 004CD
|
Jacek Sienkiewicz presents Hideland. Sound and rhythm are effective means of individual's self-defense in face of chaotic steamroller of everyday life. Hiding in a familiar yet simultaneously hardly recognizable parallel space does not have to result from the need to escape the world or nurture one's ego. Too many times to mention, music appearing under Recognition imprint served as a peculiar type of a vehicle of survival and a tool for internal transformation. Hideland, the new record by Polish electronic music producer Jacek Sienkiewicz is released precisely a year after Drifting (2015), which largely explored tropes of classical club techno sound. It is Sienkiewicz 's expedition into the unknown, exploration of topographical margins, both possible and impossible. The nine tracks comprising this album go beyond easy-to-pigeonhole genres, creating a microcosm of utopian sound constructs. This surprisingly unobvious and precisely composed release could be fascinating both for loyal fans and for new listeners looking for threads of experimentalism. In "Desert Plan" and "Kingdom of Lo" one can hear references to extra-temporal Detroit harmonies, while the minimalism of the title track or the alchemic trippy house of "Radionist" provoke questions rather than serve ready-to-use answers. Melancholic compositions of mosaic-like structure ("Gone") are distinctly contrasted with miniatures saturated with distant galaxy hum like "Summer 2016". From enigmatically rhythmic opener "Hide Away", to 12-minute-plus "Last Run" which sets obsessive percussion against impressionistic sound splashes, the constantly morphing and the self-contained 3D landscape of Hideland is a perfect place of seclusion, refuge, and hiding for lost souls and seasoned listeners alike. It's another intriguing proposal in Jacek Sienkiewicz's growing discography, but above all, it is a laboratory where dreams and artistic visions metamorphose into concrete reality.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RECOG 003CD
|
Michał Wolski is a Polish musician, music journalist, radio DJ and tireless promoter of dub techno aesthetics. Eight extended compositions on his new record La Mer (Sea) recall those special moments when sound becomes a movement of a kinetic sculpture, an abstract painting, or a cinematic report from the Arctic solitude. Personal and introverted, yet simultaneously carrying certain universal message (cosmic loneliness? molecular life?), sound space created by Wolski manages to seduce the listener and inhale her/him for the whole 75 minutes. Associations with sculptural work with matter are not purely arbitrary. On his fourth full-length, Wolski consciously shapes complex and saturated forms, further developing - on evidence on his earlier releases - penchant for exploring darker alleys of synthesis and sound design. In his varied and consistent narration, one can find a whole range of references to noblest protoplasts such as Pan Sonic, Rhythm & Sound, or even Vatican Shadow's desert manipulation. However, the key to the albums consistency does not rely on the power of quote, it rather manifests itself in sheer scale and depth of imagined atmospheres and non-existent geographies. But Wolski's constructs are much more than a set of sea sound fantasies. La Mer is a highly individualist vision of new worlds of listening and hearing, truly deep acoustic ecology in time of overall hiss.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 037EP
|
Jacek Sienkiewicz's "Drifting" (RECOG 002CD, 2015) remixed by two premium electronic music producers, Roman Flügel and Ricardo Villalobos. No further words necessary. Enjoy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12" + CD
|
|
RECOG 036EP
|
EP version. Includes CD. Jacek Sienkiewicz is back. Drifting is the artist's fifth full-length release and the second on his Warsaw-based label Recognition since 1999. His records have been played and strongly supported by such renowned artists as Sven Väth and Richie Hawtin; legendary producers like Ricardo Villalobos, Uwe Schmidt, and, in 2015, Max Loderbauer have collaborated with Sienkiewicz (RECOG 035EP). Drifting takes its listener on a complex but still accessible journey to state-of-the-art techno territory where Carl Craig melodies coexist with the stark minimalism of Robert Hood, but they serve only as entry points for further exploration. There is no doubt -- Sienkiewicz knows all of his roots yet he creates a signature sound that results from his highly original approach to modern electronic music production. Drifting can be seen as a personal diary that Sienkiewicz uses to invite all listeners, no matter their listening preferences, on a deep and unique ride. Constant drift and dislocation creates imaginary landscapes of future unknown. A pleasant surprise at a time when the market is flooded with predictable releases and tasteless hype. Above all, this album comes both from the soul and the brain and it shouldn't be missed. Every listen is a different adventure.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RECOG 002CD
|
Jacek Sienkiewicz is back. Drifting is the artist's fifth full-length release and the second on his Warsaw-based label Recognition since 1999. His records have been played and strongly supported by such renowned artists as Sven Väth and Richie Hawtin; legendary producers like Ricardo Villalobos, Uwe Schmidt, and, in 2015, Max Loderbauer have collaborated with Sienkiewicz (RECOG 035EP). Drifting takes its listener on a complex but still accessible journey to state-of-the-art techno territory where Carl Craig melodies coexist with the stark minimalism of Robert Hood, but they serve only as entry points for further exploration. There is no doubt -- Sienkiewicz knows all of his roots yet he creates a signature sound that results from his highly original approach to modern electronic music production. Drifting can be seen as a personal diary that Sienkiewicz uses to invite all listeners, no matter their listening preferences, on a deep and unique ride. Constant drift and dislocation creates imaginary landscapes of future unknown. A pleasant surprise at a time when the market is flooded with predictable releases and tasteless hype. Above all, this album comes both from the soul and the brain and it shouldn't be missed. Every listen is a different adventure.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 035EP
|
Ridges is the result of a creative encounter between veteran of improvised avant-electronics Max Loderbauer (Sun Electric, Moritz von Oswald Trio, Ricardo Villalobos) and spiritus movens of Warsaw label Recognition Jacek Sienkiewicz. Deeply introspective and individualistic confrontations between two sensibilities and imaginative worlds give birth to contemplative electronic music at its purest. Both timeless and futuristic, Ridges serves as a perfect antidote to turbo-speed contemporaneity. The work takes its due place among the works of noble pioneers, from Popol Vuh's Transylvanian hymns in Herzog's Nosferatu (1979) and Lionel Marchetti's concrète reports from the glacier to Simon Fisher Turner's Himalayan soundtracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 034EP
|
Recognition Recordings proudly presents a new project on the label, Tumult Hands aka Jacek Sienkiewicz and Jurek Przezdziecki. Recognition 034 brings two tracks, created in equal parts by meticulous work and spontaneous studio improvisation. "Tumult Hands" is a 10- minute odyssey into the realm of low frequencies -- merciless groove carries subsequent waves of bass -- swelling, disappearing and reverberating with cosmic echoes, while other sounds culminate in industrial noises. "Glow Box" on the other hand, is an effective club tool for uncompromising DJs -- bringing an answer to many questions about the future of minimal techno.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 032EP
|
Produced together with the Goethe Institut in Warsaw, this record celebrates 200th anniversary of the birth of Richard Wagner. Label-boss Jacek Sienkiewicz invited his companion Uwe Schmidt (known also as Atom TM, Atom Heart, Señor Coconut, etc.) to take a look at Wagner's work -- and here we are, with two totally different, but equally challenging variations on a theme. Atom TM's tune is a majestic, classically-composed ambient piece, and Sienkiewicz goes all deep-techno. Neo-classical approach to modern club rhythms? Stripped-down Romantic machine music?
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
R 031EP
|
Includes a remix by Legowelt. Recognition Recordings, run by Jacek Sienkiewicz, passes its 30th release with this four-track marvel of an EP by Chino. A nickname of one Artur Olés, a modest analog gear freak and award-winning graphic designer known for his stripped-down, monochromatic eye candies, delivers some truly timeless variations on the classic theme. It's all there -- simple but cleverly-constructed beats and lovely, dreamy melodies flowing on top of the nastiest, rawest and most moving bass lines heard for a long time this side of Atlantic.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 025EP
|
"For the 25th release on Recognition, one of the premiere Polish export goods, label boss Jacek Sienkiewicz teams with a longtime friend, and extraordinary musician, Chilean maestro Pier Bucci. Both have been playing together for some time now, and this debut studio recording hopefully will not be the last. Despite obvious cultural differences, both artists share some curious sensibility and/or sort of modern romanticism -- underpinned either with Latin optimism (Bucci) or a kind of Slavic melancholy (Sienkiewicz). Add to this the dopest tech-house beats available today, and dancefloor destruction is guaranteed. The title track is a cross-genre time bomb, obviously designed to mess with the heads while the bodies can't stop moving. Kicking off with driving, solid beat of almost live feel, soon it develops into a symphony of carefully crafted and meticulously assembled sounds. We are treated by some strange woodwinds, jokingly reminding of Jacek's previous hit outing, Beacon, and -- is this the Pope we hear talking for a moment? -- nevertheless, by the time the sparkling, warm chords float in, this track simply cannot be stopped. Given the complexity of it, it's one piece of a pretty demanding DJ tool. It's almost 11 minutes of constant challenge, packed with enough ideas to fill a dozen singles from current charts."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 022EP
|
"Jacek Sienkiewicz presents another unbelievably complex experiments in beat programming and string arrangement. This time, Poland's top techno producer known for his storming live sets goes over the edge, stretching minimal techno formula far beyond its limits and comes up with two epic tracks of enormous proportions. 'The One' starts immediately with a stainless steel kick, but what seems to be a digital techno groove soon develops into a cosmic fairytale, with layer after layer of strings, bells and unidentified, but strangely organic sounds, executed with breathtaking complexity and almost obsessive attention to every tiny detail. Sounds and emotions embraced within its almost 10 minutes are enough to fill a couple of albums. The same can be said about the title track, where silicone and chrome bleeps surrender to somewhat otherworldly hyperstring melody. It still IS an electronic dance music -- sparkling with originality, this is yet another proof of Jacek's highly unique blend of shuffling groove and unspeakable beauty."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
RECOG 018EP
|
Rare Atom Heart tracks from 1992, with Tetsu Inoue. "18th release on Recognition, label run from Warsaw, Poland by Jacek Sienkiewicz, is a rare and special one. For the first time available on vinyl, there are four tracks recorded more than a decade ago by the mysterious 'I'. This was one of the many aliases of Uwe Schmidt (aka Atom Heart, Senor Coconut, Lisa Carbon...) and a CD released in 1992, titled Repetitive Digital Noise was a major influence on Jacek's sound. Simple, minimal, rough, but careful, haunting and hypnotic, here are four tracks of stripped-down, hallucinogenic, acidic techno, sounding as fresh as years ago. As Recognition releases aim to be equally timeless, this is a perfect moment to refresh what's in the very roots of modern electronic dance music. Tracks were remastered by Atom Heart in Chile this year especially for this limited release. I -- one of the aliases of Uwe Schmidt native German living in Chile, who released millions of records as Atom Heart, Senor Coconut, Lisa Carbon, Los Samplers and few dozen others."
|
|
|
|