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Przemysław Rudź, Józef Skrzek | The Stratomusica SuiteBestsellerImagine that you get in the balloon and start floating slowly, getting higher and higher. Our target is the stratosphere, where we can see the roundness of the Earth, and a real black starry sky above us. This is where intermingle two environments - the Earth's atmosphere and the cold, silent and almost inaccessible space. The music on the album is the musical illustration of the expedition to the border of two diffrent worlds. Moments of calm and melancholy change here in strong accents when our balloon is torn by a turbulent jet stream. When we get to the destination music will soothe us once again with calm chords in a familiar style we already heard somewhere. Music by Józef Skrzek and Przemysław Rudź combines also the two musical worlds. Józef Skrzek, the legend of progressive rock, the leader of the famous rock group SBB, who with his inseparable Minimoog also brought a lot to the Polish electronic music. Przemysław Rudź, composer of the younger generation, the successor and continuer of the Greats on el-music scene. The possibility of artistic cooperation with such respectable personage inspired him to compose the suite addressed to demanding and sensitive listeners. The stratospheric music. The Stratomusica Suite!
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Vanderson, Przemysław Rudź | Remote SessionsBestsellerNa polskim rynku muzycznym mieliśmy w poprzednich latach roku premiery udanych kolaboracji artystów grających klasyczną muzykę elektroniczną. Albumy te nasycone były ambientem oraz stylem Szkoły Berlińskiej. Można tutaj wymienić m.in. album Unexplored Secrets Of REM Sleep, który spotkał się z dużym zainteresowaniem wśród polskich fanów muzyki elektronicznej ze względu na zimny i mroczny klimat oraz "zderzenie" dwóch znanych polskich wykonawców muzyki elektronicznej w Polsce Władysławem Komendarkiem i Przemysławem Rudziem. W tym miesiącu będziemy mieć do czynienia z nadejściem, tzw. fali młodszego pokolenia. Idąc za ciosem, Maciej Wierzchowski stworzył udany projekt Remote Sessions we współpracy ze znanym gdańskim kompozytorem, Przemysławem Rudziem. Ten album można śmiało zadedykować wszystkim, którzy kochają astronomię, Kosmos oraz nieznane, kosmiczne światy. Na albumie można znaleźć surowe, pulsacyjne dźwięki, dynamiczne sekwencje i finezyjne melodie. Już od pierwszego utworu Journey To The Northern Land duet Vanderson & Rudź przedstawił słuchaczowi interesujący kolaż dźwiękowy. Przez cały okres trwania pierwszego utworu mamy do czynienia z dźwiękową, wznoszącą się falą abstrakcyjnych szumów, sekwencji i melodii, które wzbogacone zostały o wokoderową narrację kapitana statku międzygwiezdnego. W tle usłyszymy piękną, melancholijną solówkę Rudzia oraz mocne sekwencje grane przez Wierzchowskiego. Drugi utwór Leaving The Earth jest mroczniejszy od poprzedniego. Wykorzystano tutaj efekt ucieczki dźwięków, które wraz z początkiem rosną, a potem nagle maleją, by w końcu zaniknąć. W drugiej części tego utworu, aby ten dźwiękowy obraz był bardziej subiektywny, duet Vanderson & Rudź uatrakcyjnił muzyczne tło, o zimne, "metalowe" partie syntezatorów oraz wspomnianą już wyżej narrację kapitana. Mój ulubiony utwór to właśnie Far Away From Here. Artyści znakomicie wczuli się we frapujący klimat gwiezdnej podróży. Mellotronowe dźwięki, wsparte przez delikatny, perkusyjny beat oraz solówkę a'la Mini Moog graną przez Przemysława Rudzia powodują, że kompozycja ma podniosły charakter. Czwarty utwór Lonely Dot, to fortepianowa i b-mollowa impresja wyrażająca tęsknotę za ojczyzną, czyli za planetą Ziemia. Wspomnienia astronautów o szumie morza, zielonych krajobrazach, górzystych widokach, kwitnącej przyrodzie zostały barwnie zaaranżowane i zagrane przez muzyków w klimacie znanego greckiego kompozytora. Płytę zamyka udany utwór Sound Of Scattered Waves, który utrzymany został w klimacie el-muzyki lat osiemdziesiątych. Kończąc, chciałbym powiedzieć, że to dzieło nadaje się jako wyśmienite tło ilustracyjne do opowiadania, lub do filmu poświęconego kosmicznej tematyce. Z pełną satysfakcją polecam ten album wszystkim słuchaczom i fanom, którzy wychowali się na klasycznej muzyce elektronicznej lat osiemdziesiątych. Remote Sessions jest pierwszym, udanym albumem duetu Vanderson & Rudź. Jest bardziej barwny i stonowany od poprzednich albumów Vandersona. Mam nadzieję, że następne produkcje będą równie udane, jak Remote Sessions.
Przemysław Rudź i Vanderson, zdążyli już chyba na stałe wpisać się w pejzaż rodzimej elektroniki. Dali też ponieść się fali różnego rodzaju kolaboracji. Ten akt twórczej synergii, wymiany myśli i doświadczeń nierzadko owocuje wyborną muzyką. Tak jest też i w wypadku ich wspólnej płyty Remote Sessions. Nagrana w domowym studiu Vandersona, jest właśnie tą wspomnianą platformą wzajemnej interakcji. Tych 5 utworów, to rzecz jasna wypadkowa unikalnych stylów obu artystów. Fundamenty na których zbudowane są kompozycje z Remote Sessions, sięgają przełomu lat 70/80, kiedy to muzyka elektroniczna z impetem wkraczała na salony. Bloki sekwencyjnych tekstur, wraz z ich podstawą rytmiczną to dzieło Vandersona. Nie boi się czerpać z bogatej tradycji w duchu Klausa Schulze czy Tangerine Dream. Jednakże ta płyta nie jest tylko staroświecką produkcją, dla sfiksowanych szaleńców dla których czas zatrzymał się w latach '70. Te powiewy świeżości i nowoczesności, to działka Przemka Rudzia. Można odnieść wrażenie iż w sferze muzycznej doskonale przekłada swoje doświadczenia z kręgu astronomii. Nasyca ową tkankę wytworzoną przez Vandrsona, ogromną dawką space elektroniki i kosmicznego ambientu. Dzięki temu Remote Sessions układa się w fascynującą opowieść, utrzymaną w duchu sciene- fiction. I na dobrą sprawę nie ma znaczenia czy słuchamy otwierającego całość, chłodnego Joureny To The Northern Land, środkowego Far Away From Here czy finałowego Sound Of Scattered Waves. Album Remote Sessions to doskonale zespolona, jedna całość. I tak należy go odbierać. To solidna dawka elektroniki, która godzi klasyczne wzorce i nowoczesne podejście do sprawdzonej już formuły.
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Odyssey & We Are The HuntersBestsellerThere is a few, almost not at all to tell the truth, information on this last find from the Polish label Generator.pl Odyssey & We are the Hunters is an eponym album which contains two long musical pieces with very Berlin School aromas, composed by Odyssey (The Four Elements) and We are the Hunters (Environmental Energy) and produced by Tomasz Pauszek, the man behind Odyssey. We know Odyssey to have been charmed by his fascinating electronic symphony; Music for Subway in 2012. We know on the other hand a little less We are the Hunters, a very discreet, subdued band which does into big ambient vintage Berlin School. The collaboration between both electronic entities could not thus give something uninteresting. And it's exactly what waits for us with this delicious album full of memories of the analog years.
It's in the ambiospherical precepts dear to the psychedelicosmic structures of the analog years that begins The Four Elements. The water oozes from the walls of a cosmic volcano, where the layers of a morphic synth are floating and boiling in organic tones. Fine sequences dance in their spheroidal shadows, shaping a static dance which spins in these lunar synth layers which make all the beauty of an introduction closer to sound experiments than well ordered structures. Then the silence widens its veil of mystery from the 7th minute, except for silvery gurglings which sparkle such as the lapping of a brook of prisms. This is there that is hatching a fascinating lunar ballad which swirls like an allegorical carousel under solos and cosmic sound effects. The ambience is fascinating and our eardrums are gobbling up this fusion of sounds which give a strange sonic show, whereas the synth is whistling some soft solos which adopt the airs of this melodic ritornello. The ambiences change of skin at around the 16th minute while that The Four Elements starts a beautiful structure of rhythm which undulates passively on good bass pulsations, sober electronic percussions and sequences which flicker in structures of criss-crossed underlying rhythms. Odyssey offers us a strange colorful synth-pop where Jean Michel Jarre's tribal, cosmic and rhythmic influences get mix in the robotics melodies of Kraftwerk. This phase of rhythm amplifies its velocity with a funk approach where the undulations gurgle of organic tones in some ethereal voices and these deep shouts which exhilarate the eardrums since the opening of this strange space-funk. We have already crossed the bar of 23 minutes when the heavy and vibrating pulsations stop and that The Four Elements kisses a phase more melodious, even melancholic, with a soft electric piano which scatters its pensive notes in the discreet chirping of a synth. It's a brief rest of 3 minutes before that some sequences begin to be champing at the bit and before that The Four Elements turns on itself in search of a rhythmic direction. The arpeggios swirl intensely under the cooings of a dreamy synth whereas that a sneaky whirlwind of sequences makes spin the last minutes of The Four Elements. Some bass and crystal clear sequences which get mix and whirl in a superb rhythmic chassé-croisé, laying the lines of a very good circular rhythm a la Jarre that rattling percussions and motionless twistings are surrounding in a cosmic mood from where filter soft solos full of analog fragrances. The first 13 minutes of Environmental Energy are a symphony of organic noises which gurgle in a dense ambiosonic broth where sing twisted lamentations from a synth tinted with the psychedelic perfume of Klaus Schulze's vintage years. Pulsations beat the languor around 13 minutes, bringing Environmental Energy towards a bubbling static movement where the bass sequences pulse and oscillate heavily on a linear movement decorated by sparkling arpeggios among which the ringings, as well as the chthonian airs, will be the only harmonies of this cosmic sound whirlwind which is reminiscent of the late Michael Garrison. Candy for old ears!
Odyssey & We are the Hunters is a real musical journey in the time of the analog rhythms. It's a more experimental side of the Berlin School style with a subtle zest of French School such as developed by Jean Michel Jarre. If we like these ambient rhythms which hypnotize and seduce due to their sonic pallets, we shall be more than delighted by this surprising album that made me dusted my old albums from Klaus Schulze and Michael Garrison. To be tamed for the greater pleasure of our ears.
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Przemysław Rudź | Discreet Charm of an Imperfect SymmetryBestsellerThe black breaths with soft tints of oracles extricate themselves from nowhere to float as long hair in water. It's of breaths and mooing that Movement One gets in our ears. The musical background is of sublimity with its slow orgiastic synth pads which interlace in a ballet moved by the breaths of the void in an introduction eaten away by some hostile mooings. These orchestral pads weave an immense cosmic veil where sparkle the stars and chirp the interstellar elements. The illusion to be in a farm of aliens is metaphorically as plausible than improbable with all these quirky tones which sit under the huge tears of violins. Tears which begin waltzing against boredom, forging a dense morphic dance where the sound elements are going downhill until they get lost in the inanimate jingle of cymbals. These jingles ring and resound with uncertainty in the soporific arms of those violins sighs and lamentations of some heavy layers built in poetic tones of organs, introducing little by little the rhythm of Movement One which raises itself under the gallop of the percussions and which offer themselves to the sharp bites of a guitar and of its surgical solos by Jarek Figura. More than 12 minutes of morphic atmospheres, even lethal, for 2 minutes of groovy rhythm. Here is the rundown of Discreet Charm of an Imperfect Symmetry.
Those who know the universe of Przemyslaw Rudz sound alchemy know that it is one of the less accessible. And Discreet Charm of an Imperfect Symmetry won't change absolutely anything of it. Built on long improvisation sessions to which were grafted the partitions of Jarek Figura on guitars and Marek Matkiewicz on drums, Discreet Charm of an Imperfect Symmetry is an electronic improvisation in 3 movements where all the essences of the floating cosmic rock roam over structures in which the tones will nail you on your seat.
Movement Two offers the same ambiospherical pattern with hootings of suffering machines and spectral groans which are floating among hoops which collide in a slow cosmic movement where the noise under all its forms and dimensions thrones on the ambiences. You must not have the ears virgin of heterogeneous tones because the exercise can turn out perilous. Except that we let ourselves win by a wave of heat and comfort where strata a bit orchestral sing above the waves of the Sea of Tranquillity, while that we hear some fine pulsations which, quietly, introduce a latent rhythm of which the hatching passes by a nervous movement of sequences. While the stars are sparkling, a concerto for drums and synth solos purge the tranquillity and push Movement Two in a heavy and furious phase of e-prog electronics where the hybrid solos of Przemyslaw Rudz tear our eardrums. Solos with twisted echoes, where are melt some heavy riffs of e-guitar, mould the most intense moment of Discreet Charm of an Imperfect Symmetry which collapses under harmonies murdered in the rustlings of dying metal, forcing this passionate rhythm to turn back quietly into its ambiospherical tunnel. Movement Three is of atmospheres with tones and electronic lamentations which shout such as cosmic whales failed on the cliffs of an interstellar ice floe. Those who like Jean Michel Jarre's ambiences on En Attendant Cousteau will be simply delighted.
The more Przemyslaw Rudz moves forward in his progression, the more audacious he becomes. Discreet Charm of an Imperfect Symmetry is undoubtedly his most experimental work to date. But even when the synthesist-astronomer is escapes in his improvised spheres he succeeds constantly in weaving a charming sound environment where the ear has difficulty in seizing the whole of its dimensions and all of its colors. This album is for fans of sound, sound experiments, tonalities and ambiences. For others? I would recommend Pain/tings or still Summa Technologiae. So there will be a connection between your ears and the universe of Przemyslaw Rudz that you will tame gradually until his most crazy creative escapades find a reason to your ears.
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Yarek | Last Train to BerlinBestsellerThe word Berlin is very evocative for EM fans. And as soon as we find it on an album title, it stirs up immediately the curiosity. Normal, we think unmistakably of the Berlin School style. But it is necessary to be careful because certain name albums can generate a certain confusion, like this last album of Yarek; Last Train to Berlin. If the first rustles of Sutra suggest some lunar pads of synth which float as spirits of Berlin on the curves of a bass line and a soft hopping sequenced movement for get lost in some fluty Mellotrons, the rest of Last Train to Berlin is a beautiful collection of music pieces which are perfumed of Berlin School but which oscillate between the groove and soft techno. In fact, Jaroslaw Degorski offers a delicious mixture between vintage and contemporary with a lot of Jarre references on soft and floppy rhythms which surf at the limits of the ethereal ambiences where the synth layers to the vintages aromas lose their virginity on the kicks of sonic elements and more contemporary rhythms. This just goes to show that this last album of Yarek would rather be a last stop in Berlin school than a train to go further in this style.
Monopady plunges us straight out into a kind of e-groove with a jerked rhythm which bites of its bass line a structure pounding slowly in a sound universe soaked with voices and echoing hoops. These elements decorate continually the rhythms and removable passages of the 12 tracks of Last Train to Berlin. Lively and catchy, the rhythm is soft and crawls such as a big anaconda on uneven rocks while the melody weaves a pleasant earworm. The pot of sounds is rich and amazes while giving to each track its particular cachet. Bye, Bye Berlin offers a similar rhythmic structure which on the other hand offers more mordant and more velocity with good sequences and good strikings of bass drum. The synth layers which hum are very near Berliner style while the melody hangs on to chirping of synths and the ambiences feed on hoarse voices. Strange is the progression of Atlanta which offers a structure of rhythm mislaid between its styles but among which the percussions and the trumpeting voices add an unreal dimension to what one could catalog, if need be really necessary, as a tribal psychedelic. Europa Express brings us in the Düsseldorf school style with a rhythm always so crawling where vocoder a la Kraftwerk and the chirpings of synths fly over a rhythm torn enter its approach of languid groove and soft synth-pop.
Do I have to repeat that all this takes place in a charming sound environment? It's important cause without this element, tracks like Orbital, Echo, Hokato and Banco, where the rhythms are broken at will, would be good copies of groups like Orbital, Future Sound of London or Leftfield. For me, Smolensk is the piece de resistance of Last Train to Berlin. The rhythm is evasive with a superb bass line which oscillates with musing, spreading an ambient rhythm which serves as pretext to lay down the only real melody of Last Train to Berlin. A melody of the tales from the Arabic 1001 nights forged in a synth and of its solitary singings that some chords of e-piano carry near to the door of melancholy. This is a wonderful track. Music Play brings us into Jean Michel Jarre's lands with a curt and incisive rhythm. But an ambivalent rhythm which oscillates between techno-dance and ambient and which pounds on stunned sequences and very edgy percussions. The portion of the Gothic choruses is simply stunning and unexpected. The title-track spreads all the opposition of rhythms and ambiences of Last Train to Berlin. Ambivalent, the structure hesitates between the hard and pure rhythm and its lunar moods while the harmonies are bribed by a synth which paws the ground more that sings. The 8 minutes of Last Train to Berlin sound like a recapitulation of the whole album where the robotics voices, vocoders, ethereal choirs and layers of synths to the aromas of Berlin School are interlace and evaporate at the whim of a structure which takes advantage of its 8 minutes to give a very good outline of the artistic duality from this last opus of Yarek.Sylvain Lupari
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Noryani | Southeast 225Bestseller Good priceIt's the second time that the Noryani project releases its compositions on the Generator.pl label. The music presented here sounds very fresh - it is a unique combination of traditional electronica, melodious chill-out and polidimensional ambience with a slight touch of film- and classical music to it. Southeast 225 reminds me of a differentiated photo-album full of well-tempered, mysterious electronic postcards. The opening track is a nostalgic puzzle of moods a'la Vangelis' Antarctica and Isan's Meet Next Life: a really good mixture of traditional and daring electronica. The second piece of music enables us to imagine a collaboration between Daniel Pemberton and Edgar Froese; still let's not forget that it's just a description of the mood of a track which was composed and produced by some other artist, not that famous yet, but apparently as talented as the two just mentioned.
The third track is my favourite one so far - it's impossible not to be fond of this enthralling mix of haunting drums at mid-pace with hypnotic chords! Shall I give this association a clear shape and name two artists, who could have conceived such a mood had they wanted to work together? I say: Biosphere and Fever Ray! But once more, it's Noryani who's responsible for this fascinating mood. The fourth track reminds me of Joseph Turner's sea-paintings, almost invisible through the delicate haze of green, yellowish or azure-blue accents. This piece of music is truly magical, it allows great melancholy and high hopes to intermingle.
The fifth composition is Noryani's idea of a synthesis between rhythm-oriented sequential electronica and the sombre face of el-pop. It's exactly how the dream of Kraftwerk's showroom dummies could sound. The sixth impression has much in common with newer Mike Oldfield's music, especially with the nostalgic soundscapes from the double album Light / Shade - mostly because of this very specifically sounding piano, I think. There is also this very vastness and association freedom accompanying the music - sultry music, seductive music. There is so much room under this coffee-coloured sky and all its piano-sound stars...
The seventh track is once more an impressing mixture of well sounding drums as if taken from some odd, long-forgotten Eskimo fairytale and vibrating, wintermood electronics with a slight touch of specific nostalgia to it. Both tracks #8 and #9 could function just great as film soundtracks. There is enough space here to have any association and any colour we like. It's like seeing the music itself, we can see its movements, we do not only hear all these harmonic soundscapes, we can see and touch them. Its this very kind of music one should enjoy in complete darkness, without being interrupted. The tenth tale is about the struggle between two different moods - doubt and bravery, melancholy and open-mindedness, the beauty of the piano and the harshness of the other instruments.
The final impression is a beautiful superior comment to a forgotten celtic legend, a soundscape illustrating blackened drawings suddenly found in recurring green waves of grass at dawn. How can one build such fantastic electronic castles? Even after hours of repeated listening we won't be able to answer that question... but we will be able to dream new electronic dreams hour for hour - it's worth it!
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Przemysław Rudź | Pain/tingsBestsellerThe opener is an abstract melange of civilisation noises. This sombre introduction kind of reminded me of newer Depeche Mode music, so I put my ear nearer to the speaker - the next DM-association was the title of the CD itself, Pain/tings: Are we dealing here with "pain and suffering in various tempos", as it said on Playing The Angel by Martin Gore & Co.? This intro is already four minutes long, in just a second there might appear a warmer note, a familiar harmony... And still we are drifting forwards in complete darkness. Przemysław Rudź scores here big points, in my opinion - this is really a fascinating opening theme.
And there it goes, at about the 5. minute mark, a majestic chord a'la Klaus Schulze's winter landscapes! This icy impression is still quite murky and sombre, but now it is rather a Berlin "pre-ambient" impression than an abstract click-ambient sculpture. Rudź keeps on painting his sombre icy mirages almost 25 minutes long - this moving piece of music is a reminder of the electronic past and a "brave new sequence" at the same time.
The second track has a similar atmosphere from the very beginning; however, here the ice surfaces seem to begin to break down, so that one can see the dim outlines of the composition to a greater extent than in the case of the former track. Still, the music lurks in shades of lead-grey clouds passing over the sad skies. At about the 5' mark one could almost see the first signs of azure blue presence, nevertheless the dangerous metallic wind is howling every now and then somewhere near the listener. Until the very end of the track there will be no beats nor sequences at all, but there still will be yet even more room to fit in...
Track three is an interlude of a kind; Rudź sketches here a quite outlined melody, but still there is no sun at all to be seen - a polished ice button, at the very most... The amazing composition #4 is bathed in black liquid tones as if there suddenly was sound to the darkest pain/tings by El Greco. It's the most rhythmic movement so far, but, needless to say, the pace is quite slow and the rhythm patterns are tracked-down, thoughtful, introvert. What a wonderful mood - reminds me a lot of Wolfram Spyra's Hush Hour!
The fifth impression is yet another short interlude; on the one hand we have pretty liquid chord structures here, and there is at long last a ray of sunlight to be seen, on the other hand the drops of abstract sequential line are freezing instantly and lead our attention away from the more optimistic voices...
The final track with its 17 minutes is a moving electronic dream, with subtle solos in the old style once in a while... but in general there is once more a great amount of darkness and abstract iciness to it. Then something unexpected happens. At about the tenth-minute mark there appears a quick-paced sequence, and all the icebergs burst at last with loud thugs and crashes. With the 12. minute the drums join in, and then a whole bunch of Tangerine Dream-like colours explodes and lights up the white horizon with a liquid red afterglow. That's what I call a powerful coda of a moving record! And 75 minutes have already passed? Good to have this CD at one's disposal, so that one can explore the regions Klaus Schulze told us about in 1977 over and over, which I highly recommend.
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