Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

One Lonely Autoresponder Message

Journal Entry #3—The Future, Our Present

Breathe IN Breathe OUT

Journal Entry #1—The Past, Like A Strange Bird

Journal Entry #2—The Bloom and the Flutter : DiLasso, Schnittke, Goats, Ghosts

Them!

A Pane of Glass

Gymnopedie No 4

I wanted to write a chorale type piece, but I ended up writing this instead. I definitely went in a more jazz-infused direction but I hope it takes you back to your front door at the end of the day.

Nearing Home (Ballade in E)

A neo-classical piano composition that explores the depths of introspection through sustained notes and gentle arpeggios. Performed solely on grand piano with a soft, intimate touch, this piece weaves a diatonic tapestry of emotion in a minor key. The slow tempo invites the listener into a contemplative space where simplicity meets profound expression. With clean, spacious production that honors the instrument's natural acoustics, each note resonates with crystalline clarity. No vocals, no percussion—just the pure, unadorned voice of the piano speaking directly to the soul.

Echo of the Past

After completing a master’s in contemporary composition, I decided to give my ears and soul a rest and returned to the music I love, jazz and classics (The Dead Composers Society, a story with a joyful ending, this one). Perhaps you can detect the evanescent touch of Mozart’s spirit passing over the keys. Or is it the bewigged and powdered specter of Haydn musing at an art nouveau piano?

I was very pleased when Kathy Gunn took a liking to my composition and decided to perform it. Though I recall that she dressed as a stylish 21st-century woman for the occasion and not as a 1920s flapper. I hope you enjoy the lyric warmth and sensitivity of her playing as captured in this recording.

Black, White, and Blue Mvt. 2

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Poetry by pianist Piano Melancolía is a serene and delicate composition, unfolding like a tender poem about love and kindness. Its soft felt piano tones evoke warmth and intimacy. Released by the reflective neoclassical label ad21.

Poetry

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Polish pianist Dawid Nowaczyk, known as Davilyn’s Piano, presents The Last Lullaby, a moving felt piano piece of quiet elegance. Serenely paced and cinematic in scope, it carries deep emotional resonance. Released by the reflective neoclassical label ad21.

The Last Lullaby

Ulme Remastered by Spanish pianist Eduardo Gutiérrez is a deeply contemplative piece, performed with a warm felt piano tone. It beautifully captures the pure essence and sensitivity of this talented artist. Released by the reflective neoclassical label ad21.

Ulme Remastered

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Spanish pianist Ara_piano presents Ambar, a delicate and romantic piano piece from her upcoming EP Petricor. Calm and gently flowing, it carries a touching emotional resonance that lingers with the listener. Its smooth, understated sound avoids harshness, creating a soothing and intimate mood. A graceful composition that feels both heartfelt and timeless. Released by the reflective neoclassical label ad21

Ámbar

The Italo-Argentinian pianist Bruno Sanfilippo presents Garden of Moments, a serene and elegant piano piece. With a touch of melancholy and a bucolic spirit, it invites the listener into a space of reflection. The warm felt piano tone is delicately enhanced with subtle harmonics that shine like a luminous aura. Released by the introspective neoclassical label ad21.

Colours Bloom

Garden of Moments

An artist who doesn't know what really does but does something B)

Paul du Preez is a South African composer, saxophonist, and sonic storyteller whose work spans jazz, gospel, EDM, and contemporary classical. His latest album, Memories of AWI, explores the emotional and spiritual relationship between an AI and its creator—blending lush saxophone lines, haunting vocals, and genre-bending production that moves fluidly between New Age introspection and electronic pulse.
Rooted in Cape Town’s nightclub jazz scene, Paul honed his voice as a performer before earning an MPhil in Composition from City University, London. His unplugged gospel songs—raw, acoustic, and spiritually searching—offer a parallel thread of faith and vulnerability, often serving as sketches for deeper liturgical work.
Whether composing orchestral pieces or crafting short-form video to accompany his releases, Paul’s music is always in dialogue—with tradition, with technology, and with the listener’s inner world.

In 1998, pianist and composer Bruno Sanfilippo, along with his wife Ximena Contreras, established their own record label, ad21, as a haven for their creative expression. Since then, ad21 has released over 30 solo and collaborative albums in digital and physical formats, solidifying its position as a cornerstone of the neoclassical music scene.
In 2024, ad21 embarked on an ambitious new venture by opening its doors to pianists worldwide, broadening its platform and artistic outreach. Collaborating with Javier Guglielmi, ad21 aims to foster a record label specializing in neoclassical music, with a particular focus on solo piano performances.
Their vision for ad21 is to create a nurturing environment where artists can discover a supportive community and access the resources necessary to maximize their musical potential. 

Stay tuned for upcoming big news. Demos are welcome.

Composer of various styles/genres. I started composing music again after a very long break.
I hope everyone will find something to enjoy in what I share! Thank you for listening!

Our label specializes in high-quality commercial music designed for a wide range of projects. While our music is not royalty-free, you can easily purchase a sync license through lesfm.net to use our tracks in your videos, advertisements, podcasts, and other media. With a team of over 20 talented musicians, we’re committed to producing impactful music that elevates any project.

Montreal-based creator blending atmospheric folk, alternative rock, and evocative piano compositions. My background in tech shapes a precise, layered production style, while my music explores introspection, storytelling, and cinematic moods.

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