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.

Szara Reneta - label założony na przełomie 2016/2017 roku.  

Szara Reneta, label from Bustryk, Poland. 

No demo policy - feel free to send us your records
Otwarta polityka demo - możesz wysyłać nam swoje nagrania

To all concerned: 
I am announcing publication of my new book, NOW AVAILABLE:
https://www.routledge.com/Maqam-Melodies-Pitches-Patterns-and-Developments-of-Music-in-the-Middle-East-and-other-Microtonal-Writings/Thoegersen/p/book/9789815129052
My book, Polytempic Polymicrotonal Music, is available on Amazon. 
https://www.routledge.com/Polytempic-Polymicrotonal-Music-The-Road-Less-Traveled/Thoegersen/p/book/9789814968294

I have a new album out through Magic&Unique Group Records on Spotify and other digital streaming platforms:
https://open.spotify.com/album/5qWHmcvyAemvVn2TJH1bio?si=OD5TmPptQ-ypr8WOI0EZKA&nd=1

https://whitecentipedenoise.com/products/peter-thoegersen-facebook-cantos-cdr-flea
My CD via Flea label has been out since April, 2021, featuring the wonderful Lore Lixenberg singing over my microtonal piano accompaniment
Hope you enjoy it!

https://www.newworldrecords.org/collections/vendors?q=Peter%20Thoegersen

From the liner notes on my CD now available on AMAZON and New World Records:
"The author of these notes has spent his life explaining radical music, and the music on this disc may be the most radical I've ever written about. Peter Thoegersen (b. 1967) is not yet a name known to the music world; not for any lack of connection to other famous musicians, but because he came to composition late, and because his artistic aims are so broad and complex that they have taken years to evolve. His aesthetic is well defined, and he is upfront about having a name for it: "Polytempic Polymicrotonal Music." That means he has musical layers simultaneously moving in different tempos, plus, even more radically, that he has different microtonal scales playing at the same time. Few composers have aimed at such fervent and heterogeneous multidimensionality. And yet, while Thoegersen's music can seem overwhelming at first, running through it is a level of charm and simplicity that belies the initial impression.

In total, these three pieces emphasize a particular side of Thoegersen's output. The image his music creates of ornately mathematical structures filled with intuitively friendly melodies maps on to the personality of the man himself: outspoken and acerbically ruthless in his musical opinions, Thoegersen is also marked by a jolly sense of humor and an inexhaustible love of cats and other animals that make him ultimately less imposing and more personable than he might seem at first. The same can be said for his music. And by going further than anyone else has gone in terms of this particularly American concept of fusing the polytempic with the polymicrotonal - extending and combining the conceptual worlds of Ives, Cowell, Nancarrow, Partch, Carter, even Frank Zappa and many others - he has created a special place for himself within American music."                                                             

-Kyle Gann (from the liner notes)

Agnieszka Szczepaniak

Pianistka, kompozytor, aranżer, producent muzyczny.

Ukończyła Uniwersytet Muzyczny im. F. Chopina w Warszawie w klasie fortepianu prof. Elżbiety Tarnawskiej i jako wyróżniona dyplomantka wykonała II Koncert fortepianowy S.Prokofiewa z towarzyszeniem orkiestry Filharmonii Narodowej w Warszawie pod batutą Moniki Wolińskiej.
Swój warsztat pianistyczny doskonaliła na kursach mistrzowskich pod okiem wybitnych pianistów i pedagogów (m.in. Andrzej Jasiński, Katarzyna Popowa – Zydroń, Tatiana Szebanowa, Victor Merzhanov, Einar S.Nokleberg, Gery Moutier, Karl Stenzl, John Fergusson). Jako pianistka koncertowała solo i w składach kameralnych w Polsce i poza jej granicami (m.in. Francja, Finlandia, Litwa, Niemcy, Stany Zjednocznone ). Wielokrotna stypendystka Ministra Kultury i Sztuki.

Równolegle działa jako kompozytor, aranżer i producent muzyczny. Jest m.in. autorką i producentem projektu muzycznego „Ale SZOPKA” z udziałem m.in. Urszuli Dudziak, Justyny Steczkowskiej oraz Tomasza "Tomsona" Lacha (Afromental), wydanego nakładem Polskiego Radia i Licomp Empik Multimedia, na który złożyły się jej kompozycje oparte na tematach chopinowskich, łączące w sobie brzmienia klasyczne z szeroko pojętą elektroniką. Projekt wykonywany był podczas licznych koncertów ( m.in. w studiu A. Osieckiej w siedzibie radiowej "Trójki", podczas festiwalu Chopin Open - La folle journee w Warszawie, w Filharmonii Pomorskiej ).
Jest też autorką aranżacji oraz wykonawcą kompozycji Beaty Osytek w ramach projektu "Nocny Tramwaj", wydanego nakładem wydawnictwa Luna.

Tworzy i produkuje muzykę do różnorakich form audio-wizualnych - spektakli teatralnych, filmów reklamowych, pokazów mody.

Zarówno jako instrumentalistka (fortepian, syntezatory) jak i kompozytor, aranżer oraz producent porusza się w szerokim spektrum muzycznym, od muzyki klasycznej, poprzez m.in. modern jazz, ambient, trip hop, aż do szeroko rozumianej muzyki elektronicznej, łącząc to, czego pozornie połączyć się nie da, wychodząc z założenia, że w muzyce rzeczy niemożliwych ani granic nie ma.

hand-made synthesisers & contingent rabbit holes

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