Piotrowicz Stangl Zaradny "Can't Illumination"

1. Nothing Addres
2. Wait Clue
3. Close Load
4. Can't Illumination
5. Integer Stay

Robert Piotrowicz - guitar, synthetizer, devices
Burkhard Stangl - guitar, electronics
Anna Zaradny alto sax, computer

Recorded on 19.04.03 and 1406.03 by Christoph Amman in Amman Studio, Vienna. Mixed and mastered by Burkhard Stangl

mg007 www.musicagenera.net

4 Can't Illumination

BUCK FUHLER ZARADNY "lighton"

Tony Buck - drums
Cor Fuhler - piano and preparations
Anna Zaradny - alto saxophone

recorded on 28th may during musica genera festival 2006 by Artur Nowak
mixed and mastered by Cor Fuhler
artwork Anna Zaradny

mg011 www.musicagenera.net

2 Lighton  02 (excerpt)

Anna Zaradny / Burkhard Stangl - split
EP: Bocian Records, bc10 (2012)

A. Anna Zaradny - Octopus	
B. Burkhard Stangl - Crédit	

CRÉDIT
Recorded and composed by Burkhard Stangl in 2011
OCTOPUS
Recorded and composed by Anna Zaradny in 2011

Photos: Burkhard Stangl and Anna Zaradny, Vienna 2005
Design: Michał Kopaniszyn
Mastering: Martin Siewert

45 RPM 

Anna Zaradny OCTOPUS (excerpt)

Anna Zaradny feat Christian Fennesz "RE : EM" 12" EP 2015
Musica Genera/ Bocian Records
 STOP THE CHAOS Composed and recorded in 2012 as a remix of an ANTIGAMA piece


Anna Zaradny Stop The Chaos  (excerpt)

Anna Zaradny feat Christian Fennesz "RE : EM" 12" EP 2015
Musica Genera/ Bocian Records
NEW feat OLD Composed and recorded in 2008

Anna Zaradny NEW feat OLD (excerpt)

Anna Zaradny feat Christian Fennesz "RE : EM" 12" EP 2015
Musica Genera/ Bocian Records

NEW feat OLD Composed and remixed by Christian Fennesz in 2015

Fennesz NEW feat OLD remix (excerpt)

Anna Zaradny  "Go Go Theurgy" 12" LP 2016
teaser from incoming album, more soon

Musica Genera/ Bocian Records




Anna Zaradny "Go Go Theurgy" album teaser

Preview of "Theurgy Two" piece from "Go Go Theurgy" 12" LP, 
new album of Anna Zaradny to be premiered on 13.05.2016
poster limited to 77 copies 
Musica Genera/ Bocian Records

Composed and recorded by Anna Zaradny in 2015
Electronics, analogue and digital synthesizers 
Photo by Magda Wunsche 
Drawing by Anna Zaradny
Design by Lasse Marhaug 
Mastering an Cut by Rashad Becker at D&M Berlin 
Produced by Musica Genera

Anna Zaradny Theurgy Two (preview)

Preview of "Theurgy One" piece from "Go Go Theurgy" 12" LP, 
new album of Anna Zaradny to be premiered on 13.05.2016
poster limited to 77 copies 
Musica Genera/ Bocian Records

Composed and recorded by Anna Zaradny in 2015
Electronics, analogue and digital synthesizers 
Photo by Magda Wunsche 
Drawing by Anna Zaradny
Design by Lasse Marhaug 
Mastering an Cut by Rashad Becker at D&M Berlin 
Produced by Musica Genera

Anna Zaradny "Theurgy One"  (preview)

CRACKFINDER
by Jérôme Noetinger / Robert Piotrowicz / Anna Zaradny

releases September 15, 2018

The origin of CRACKFINDER dates back to the concert of SONO GENERA – the trio of Anna Zaradny, Robert Piotrowicz and Jérôme Noetinger – at the Sacrum Profanum festival on October 7, 2016. That evening, the audience experienced a clear aesthetic breakthrough; something important was happening, something special. I instantly felt that the new thing that emerged could not be left unrecorded.

Zaradny is a composer, instrumentalist and visual artist; Piotrowicz a composer, author of sound installations and virtuoso of analog synthesizers. They founded and curated the Musica Genera festival and label. Noetinger, an improviser, publisher and instrumentalist from Marseilles, specializes in electroacoustic collages full of permutations on his tape recorder and using all sorts of electronics. What connects these musicians are their methods of work: experiment as the basis of action, controlled accidents, repetition, processing and processuality.

CRACKFINDER is intense and saturated, intriguing with fragments that are rhythmic yet distant from the repetitiveness of minimalism. They give a degree of structure to the otherwise loose amalgam of raw electroacoustics and instrumental improvisation at times evoking free jazz (when Zaradny reaches for the saxophone). At any time, however, the division of roles is clear, an impressive feat at such a high density of sound texture.

CRACKFINDER the album comprises of two distinct parts. The first is extremely intense and eventful, creating a strong tension, giving the sense of an immense effort or even wrestling between the musicians; a clash of ideas and values. This dialog is not monotonous but dynamic, full of changing and new hypotheses – as if in a process of reaching the truth. We can suppose that these investigated issues are philosophical and existential, giving the impression of greatness and overwhelming significance.

The second part evokes a kind of a soothing stabilization. One may think that the interlocutors have reached a consensus. However, no-one is celebrating, and the mood is somewhat melancholic. The discovery proved to be depressing and the truth is not liberating – it becomes a burden. There is a poignant feeling of failure or unfulfilment, despite concluding and solving the task.

Finally, we are left with silence, and even emptiness – with a symbolic and absolute dimension of the end. The effort of the first part, motivated by the conviction of the significance and need for proving something, is confronted with the disillusion brought by the end of the road. The effort, however, was not in vain – the discovery of the truth, although painful, can be purifying.

The album offers more interpretative hints than just its expressive title. The artwork on the cover is a frame from the video art piece ENJOY THE SILENCE by Anna Zaradny: symbolic flares and cracking of matter in complete silence. The intensity of the image, however, creates a strong suggestion of sound. The back of the sleeve is spread with photos of the musicians holding the #BLACKPROTEST banner, in remembrance of the wave of pro-choice protests in Poland in 2016.

Cracks – both material and metaphorical – do not have to be the negative effect of an abrupt event. They can be the beginning of change, an opening for the new, an impulse for action. It is, therefore, worth continuing the search for the 'portals of change'.

Krzysztof Pietraszewski

CRACKFINDER  Universe Atlas Of Evidence (preview)

CRACKFINDER  The One Who Searches For Cracks (preview)

CRACKFINDER Universe Atlas Of Evidence (preview)

sound & visual artist, composer, improviser Co-founder  Musica Genera Festival and label
BOOMKAT REV
 'Heavily contrasting sides of improvised, fractal, avant industrial rhythms and complex tonal noise from the cream of the Polish experimental music NoetingerPiotrowiczZaradny. Vinyl master&cut by Rashad Becker. 
CRACKFINDER the album comprises of two distinct parts. The first is extremely intense and eventful, creating a strong tension, giving the sense of an immense effort or even wrestling between the musicians; a clash of ideas and values
The second part evokes a kind of a soothing stabilization. One may think that the interlocutors have reached a consensus
The artwork on the cover is a frame from the video art piece ENJOY THE SILENCE by Zaradny: symbolic flares and cracking of matter in complete silence. The intensity of the image, however, creates a strong suggestion of sound.   
Cracks – both material and metaphorical – do not have to be the negative effect of an abrupt event. They can be the beginning of change, an opening for the new, an impulse for action, the search for the 'portals of change’

'Experimental Polish composer practices bewitching electronic rituals in GO GO THEURGY; following two memorable feat with Fennesz & Stangl 
We were struck by Anna’s taste for dissonance and an intense, pulsating sort of feminine pressure, and find those elements in majestic effect.
Abstract in its stoic, precisely sculpted and beat-less arrangement, yet organically evolving in its layered harmonic chaos, GGT divines a free-floating space at once powerfully driven by rhythm, yet due to the absence of any tangible percussion defines a lush, keening, and pensile tension whose effect is only heightened when she abruptly veers off into passages of pizzicato pointillism. 
It could be considered dance music in a most extreme, physical form with proper amplification both sides have the potential to exert serious G-force torque, liberating the body from the mind, and vice versa - but the underlying structures which also lend themselves to comparison with classical music, especially in the staggering, Wagnerian turn of phrase that cleaves side two, before it calves into an almost asphyxiating, head-curdling final passage. Really impressive stuff.  

'The brilliant A Zaradny's follows up her engrossing debut with RE:EM new EP featuring a sumptuous Fennesz rework of her 'New feat Old', following hot on the heels of Robert Piotrwicz's crushing side, 'Stara Szkoła Ze Złota' to remind us the ascetic, uncompromising brilliance of Polish experimental music at its best.
On the front Zaradny utterly dominates the senses with a pulsating deconstruction of 'Stop The Chaos'; originally a sub-3 minute rager, now distilled and expanded to three times the length in a cyclical swarm of metallic drone timbre and ear-curdling howls emulating effect of a massive nitrous oxide asphyxiation in the middle of a grindcore show (well it does to us at least).
The B-side presents another facet of Anna's work with the eviscerated, bubbling tones of 'New feat Old' giving way to what sounds like Powell dragged backwards at 33rpm, before Fennesz concludes with a blissfully noisy reassembly of the latter rent in coruscating harmonics that work right on the biting point. 

'An absolute find. Most impressive is Zaradny's A-side, 'Octøpus'. Ostensibly static yet deftly, subtly rhythmic, it makes for a memorable first introduction; lulling us with hypnotic microtonal bass drones which grow stereo fluctuating pulses and (what might be) fragments of chiming vocals conducted with the precise, haptic electronic sensitivity of Holly Herndon and the patient development of an Eleh or Eliane Radigue recording...
By contrast Stangl's B-side 'Crédit' is organic, grounded, rendering shimmering guitar strokes into crushed glass textures and hovering harmonic overtones and grainy waves of bass over one extended piece. A real treat from this already promising label, highly recommended.

Anna Zaradny

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