Write us
   


Categories


Graphics
Graphics
Graphics

Newsletter

Store statistics

2196 albums in the store
1721 available in stock
33648 samples of tracks
24653 completed orders
4652 satisfied customers from:
Australia, Belgium, Canada, Chile, Czech Republic, Denmark, Estonia, Finland, France, Germany, Great Britain, Spain, Greece, Holland, Hungary, Israel, Kazakhstan, Korea, Lithuania, Norway, Italy, USA, Switzerland, Slovakia, Portugal, Russia , Sweden ...


Contact:

phone +48 601 21 00 22

Konrad Kucz

(9 albums)
sort by albums
on one page
recording period
  • Konrad Kucz, Robert Rasz, Mateusz Kwiatkowski | Lutoslavia

    Konrad Kucz, Robert Rasz, Mateusz Kwiatkowski | Lutoslavia

    Good price
    Trio PRENTY stworzyło projekt inspirowany językiem muzycznym Witolda Lutosławskiego. LUTOSLAVIA to wypadkowa kilku gatunków muzyki: współczesnej, improwizowanej, jazzu, rocka i awangardy. Żywiołowość oraz ekspresyjność wiolonczeli i perkusji zestawiono z monumentalnością i powagą elektroniki, której brzmienia w większości zostały akustycznie wygenerowane przez muzyków zespołu. Projekt zrealizowany został w stałym składzie: Konrad Kucz (symulator orkiestrowy EAST/WEST), Robert Rasz (perkusja, instrumenty perkusyjne) i Mateusz Kwiatkowski (wiolonczela).

    press info

    Availability: Goods in stock | product: 1CD


    6,74 EUR
  • Konrad Kucz | Waltornium

    Konrad Kucz | Waltornium

    Good price
    Waltornium to kontynuacja serii płyt z moją autorską muzyką inspirowaną snami z dzieciństwa. To poszukiwanie ich atmosfery, nieprawdopodobnego spokoju i bezpieczeństwa. Obszarem formalnym pozostaje klasyczny Eno'wski ambient. Jego Discreet Music stał się paradygmatem dla większości tej muzyki. Osadzone w estetyce Barokowej muzyki klasycznej, Waltornium zrealizowane zostało na akustycznych brzmieniach wirtualnych programu EAST/WEST, LOGIC AUDIO.

    press info

    Availability: Goods in stock | product: 1CD


    6,74 EUR
  • Konrad Kucz, Klake | Kucz & Klake

    Konrad Kucz, Klake | Kucz & Klake

    Good price
    Bezpośrednią inspiracją powstania płyty, były krótkie ok. minutowe formy Bartka Klake Ujazdowskiego. Ich trafna prostota nasunęła Konradowi Kuczowi, dokonania swego rodzaju mixu tych motywów. W ten sposób powstały piosenki w standardowej konstrukcji zwrotki i refrenu. Konrad, jako producent zaingerował aranżacyjnie dogrywając min. instrumenty akustyczne, dodał też kilka swoich piosenek. Ta niemal trzy letnia – burzliwa praca osiągnęła w końcu upragnioną formę i barwę. W nagraniach udział wzięli, na perkusji Robert Rasz (znany m.in.: z współpracy z Melą Koteluk, Gabą Kulką czy projektem Prenty), na gitarach Tomasz "Serek" Krawczyk (m.in.: Zakopower, Mela Koteluk) i na basie Kornel Jasiński (m.in.: Rykarda Parasol, Mela Koteluk). Partię wiolonczeli wykonał Mateusz Kwiatkowski. Nad całością czuwał Marcin Bociński, który odpowiada także za brzmienie płyty.

    press info

    Availability: Goods in stock | product: 1CD


    6,74 EUR
  • Konrad Kucz | Sleepy Music

    Konrad Kucz | Sleepy Music

    Good price
    Suita Sleepy Music to projekt Konrada Kucza, który jak większość jego produkcji, ze względu na duże spektrum stylistyczno-wyrazowe, jest trudny do sklasyfikowania w obrębie jednego muzycznego gatunku.
    Zrealizowany został przy użyciu programu EAST/WEST String&Choir Virtual Instruments, z wykorzystaniem partii wiolonczelowych nagranych przez Mateusza Kwiatkowskiego – współautora utworu Rustles. Proces miksowania i modyfikowania nagranych ścieżek z zastosowaniem programu Logic Studio, dał trudną do określenia strukturę barw, umiejscawiając projekt w obrębie estetyki Feldmanowskiego minimalizmu. Widoczne są również inspiracje i odniesienia do muzyki klasycznej – utwór Mozartimento jest rodzajem wariacji na temat kilku "sennych" taktów z Divertimenta KV 247 Mozarta. Całość, podobnie jak poprzednie produkcje Konrada Kucza, utrzymana jest w łagodnych "sleepy" nastrojach.

    press info

    Availability: Goods in stock | product: 1CD


    6,74 EUR
  • Konrad Kucz, Jakub Jakowicz | The four Seasons

    Konrad Kucz, Jakub Jakowicz | The four Seasons

    Good price
    The four Seasons to kilkuczęściowa forma symfoniczna duetu Kucz/Jakowicz. Tym razem Kucz – tuza polskiej elektroniki – zaprosił do współpracy wybitnego polskiego skrzypka młodego pokolenia – Kubę Jakowicza, prymariusza Lutosławski Quartet.
    Płyta jest eksperymentem niedającym się jednoznacznie określić gatunkowo. Znajdziemy tu odwołania do tradycji muzyki współczesnej XX wieku z Henrykiem Mikołajem Góreckim na czele, jak i reminiscencje muzyki klasycznej i echa minimalizmu. Pozornie odległe gatunki znajdują wspólny mianownik, balansując między dysonansem a słodkim, niby hollywoodzkim brzmieniem skrzypiec.

    press info

    Availability: Goods in stock | product: 1CD


    6,74 EUR
  • Konrad Kucz | Air

    Konrad Kucz | Air

    Bestseller
    Some time ago Konrad Kucz told that it would be hard to him to go back to berlin school moods in his artistic creation. The reasons he mentioned are formal, sound and ideological exploitation of this genre. But finally he has just went back. The new album is not like hundreds or even thousands berlin school albums releasing each year - sequence, rythm, solo part and hope to become an EM master. It is not so easy. Becoming recognizable needs talent (that's obvious), hard work and patience. Kucz by years spent at keyboards and sequencers developed his unique style. The new album released by Generator.pl confirms his position as one of the leading composers and performers of classical electronic music of our time. His music is full of space, you feel an omnipresent air (hence the title), listen to pathetic mellotrones in various combinations of sound and of course the analog fat sequences, exquisitely modulated by the synthetic filters. All is very illustrative, perfect for an evening meditation and reflection from the perspective of a comfortable chair. Polish electronic music has been enriched by another export album that will satisfy every music lover around the world.

    press info



    Brilliant 2015 album connecting the Symphonic & Rhythmic "EM" styles perfectly and containing classic, lush Tangerine Dream Rubycon inspired Mellotron choral sequences!
    This is the 3rd Album from this Polish synth musician, and it is, by a mile, his best work to date and also one of the finest releases on this Polish "Electronic Music" label!
    Featuring classic spacey synth sounds, Mellotron textures from the Tomita Snowflakes / Tangerine Dream Rubycon eras, this album is ethereal, symphonic and to some degree rhythmic as well. It is very much a "cosmic" album that is abundant with atmosphere and melody throughout and it climaxes with a track that is unlike anything else on the record and sounds as if it could be an epic OMD track!
    Some time ago Polish musician Konrad Kucz revealed that it would be difficult for him to go return to "Berlin School" moods in his artistic creation. The reasons he gave were formal, sound and an ideological exploitation of this genre. But finally he has returned, and with an album that's unlike the many other "Berlin School" style albums released each year! Becoming recognizable needs talent (that's obvious), hard work and patience. By spending years in front of keyboards and sequencers, Konrad Kucz has now developed his unique style. 'Air' confirms his position as one of the leading Polish composers and performers of classical electronic music of our time. His music is full of "space" and it is delivered in such a way that you feel an omnipresent air (hence the title).
    Air: First Movement opens up in space with all manner of electronic effects before blossoming out into this panoramic display of gorgeous mystical choral voices (Mellotron 400 sounds) that soar, swell and sway though the upper atmosphere to heavenly effect, before returning to a collage of synth effects that are a little reminiscent of early Tomita. It then moves into a new, more "Berlin School" area of sound where repeating synth melody lines wondrously dance around in the atmosphere until a sequencer line comes over the horizon and interacts with the dazzling effects. It all gets a little manic as they all collide and disperse in a burst of light to reveal an altogether more sensitive sequence juxtaposed with a slightly more discordant sound. Great opener!
    Silver Clouds opens with a more classical sensitivity with the sound of a synth (I think) oboe tune and then blossoms out further with the addition of angelic synth harp sounds and added Mellotron strings, taking on a more cosmic feel as choral voices flood the soundstage with an ethereal atmospheric quality. Towards The Sky features a carnival or sounds and textures and is lightly rhythmic at first as it sprightly dances to sounds sketches of crystalline synthesizers and sequences. Soaring Angel is a symphonic tone poem that starts out in a sombre floating in space mood, but as little bursts of synth sunlight appear, a hole in the hazy, dream-like atmosphere appears, and sweet alien-like voice melodies flow through. Soft organ textures roll around for a while then more angelic beams of sound form a kind of celestial sunset and the alien choir appears once and closes the track abruptly.
    Air: Second Movement brings the return of the vast choir of heavenly voices of the opening track and a sequencer, to some extent, then delivers a rhythmic drive to the track with background organ and string synths proving an ethereal backdrop. The Mellotron choirs once more add their bit to the final passage and here we are firmly in Rubycon final movement territory! Rising Sun open in a new part of space, with a phased mix of angelic voices and effects creating a cosmic montage of sound that gives a real feeling of being "out there" in deepest dark space.
    The final two minutes form a gorgeous symphonic space theme with massed string synths and choral sounds enveloping the atmosphere before ending abruptly once more.
    Let It Out is the sound of a revolving keyboard melody line backed by string-synth textures and that's it! Daybreak moves bank into deep space textures, but it too is an equally short piece. Long Distance starts with effect ridden organ chords that form a simple but extremely effective wall of cosmic sound, then swirling ecclesiastical voices come in and surround it with a warm heavenly glow. Under The Blue Sky closes the album with a space-synth drum sequence that all of a sudden envelopes and bursts into a panoramic theme that I can only describe as being a bit similar to OMD's big Mellotron driven epic: Joan Of Arc, with key changes and all!
    Air is complete escapism - an extremely enjoyable album that will take you out into the cosmos on a just over forty-minute trip where you'll forget all your worries and woes and enjoy the beauty and thrill of a space trip like no other!

    CD-Services

    Availability: Goods in stock | product: 1CD


    11,01 EUR
  • Konrad Kucz, Mateusz Kwiatkowski, Robert Rasz | Prenty

    Konrad Kucz, Mateusz Kwiatkowski, Robert Rasz | Prenty

    Good price
    Spontaniczna sesja zainicjowana przez Konrada Kucza w industrialnej scenerii pustych Żyrardowskich hal produkcyjnych. To zetknięcie trzech gatunków muzyki industrialu, muzyki współczesnej i ambient. W nagraniu udział wzięli pekusista Robert Rasz, Konrad Kucz i wiolonczelista klasyczny Mateusz Kwiatkowski.
    Kondrad Kucz - Absolwent wydziału grafiki warszawskiej ASP. Od ponad dwudziestu lat związany z muzyczną sceną ambient. Działa w różnych środowiskach co sprawia że trudno jednoznacznie sprecyzować obszar jego działalności. Współtworca klubowego Futra, członek industrialnej grupy Nemezis, współautor projektu Kucz/Kulka. Przyznaje sie do inspiracji twórcami takimi jak Brian Eno, Arvo Part, Górecki, Morton Feldman. Z grupą Nemezis zrealizował eksperymentalny projekt z wykorzystaniem muzyki Pawła Mykietyna.
    Robert Rasz - Absolwent Akademii Muzycznej w Katowicach. Współpracuje z wieloma zespołami, m.in.: Emergency, Raalya, Zimpel/Traczyk/Rasz Trio, oraz muzykami: Mela Koteluk, Aram Shelton, Mikolaj Trzaska, Rykarda Parasol, Rostislav Hus, Marian Friedl, Jim Baker, Ksawery Wójciński. Laureat indywidualnego wyróżnienia festiwalu Jazz Juniors 2002.
    Mateusz Kwiatkowski - Wiolonczelista i kompozytor, absolwent Akademii Muzycznej im. Fryderyka Chopina w Warszawie, Konserwatorium Muzycznego w Maastricht, Akademii Muzycznej w Hanoverze i Europejskiej Akademii Muzyki Kameralnej. Jako solista i kameralista występował w większości krajów europejskich, biorąc udział w festiwalach takich, jak Kunstdagen Wittem, Braunschweig Classic, Gosslar Musicfest, Festiwal 4 Kultur w Łodzi, Festiwal Muzyki Improwizowanej w Maastricht.

    press info

    Availability: Goods in stock | product: 1CD


    6,74 EUR
  • Konrad Kucz | Railroad paths

    Konrad Kucz | Railroad paths

    Bestseller Good price
    After a heavy, syncretic and tenebrously ambient album in Vita Contemplativa Litania,

    Konrad Kucz

    strikes full shot by offering a splendid album filled of vintage moods and sonorities. Railroad Paths is bordering an analog world where fragrances of

    Jean Michel Jarre

    and

    Tangerine Dream

    marinate on lively structures with rhythms in constant movements of duality. Interchangeable structures where the ambient espouses with wonder rhythms and sonorities of French EM of the 70's (

    Jarre

    ,

    Space Art

    ,

    Heldon

    and

    Fervant

    ) that meet precepts of Berlin School style a'la

    Schulze

    and

    Tangerine Dream

    .
    A beautiful flute harmonizes its melody on a rivulet which scintillates in opening of Path I. The notes are high and draw arch poetries on a musical canvas of enchanting forest. A synth wraps of its sinuous waves this ode of Centaur, bringing it in underground dens. There where beautiful musical hoops undulate, forgetting the rhythm and running gracefully on a linear movement. A movement that perspires heavy synth waves. They swarm in a powerful tuneful work of art where h2 layers of a dark organ shape its movements in a maelstrom filled up of baroques and sinister choirs, before concluding in a sound din with analog eddies. A long black intro, ambient and sinuous which frees its cadenced anger on Path II with a synth with hems which roll in jerked loops, of which the meshing of ferrules moulds a sequence undulating below a sky overcasts of sonorities as analog as motleys. This train of intermingled sequences follows its race under beautiful wavering layers, finishing its race in a honeyed quietude, where choirs and chirping form a nectar of serenity. Path III is more powerful with its chords which spin in cascade on zigzagging spirals. A strange syncretic ballet on a heavy movement which embraces more ventilated and definitely more progressive tangent, pointing out the universe of

    Heldon

    with its percussions which hammer a very cosmic rock beat and its vocodor which sounds so much like

    Richard Pinhas

    on East-West. A good piece of music that adds to

    Railroad Paths'

    multi dimensionality.
    Path IV offers a superb sequenced structure which rolls like a train under superb synth solos. Solos which wave and zigzag with a very beautiful dexterity, recalling the synth and sequence synchronism of

    Klaus Schulze

    . In constant progression, the rhythm plunges in a sparkling mellotron softness before taking up again the rhythmic rise identical to Path III intro, in order to plunges again in the hazes of dense and black mellotron with whining layers. A wonderful track that will wake up lot of ear memories for the music lovers of the 70's. Path V opens with a beautiful mellotron pad which extends its coat until the first 3 minutes.Thereafter, an undulating rhythm curves a structure filled up of fog. A fog which is dissipating, letting foresees a rhythmic anarchy which curls under flutes of a hybrid mellotron. A track where the rhythm pains to pierce the density of a mellotron with thick fog and bewitching flute before concluding in the half-lights from a train running off the line beneath

    Tangerine Dream

    misty fragrances. With its mechanical rhythm and its hyper melodious vocodor, a little bit a'la

    Kraftwerk

    , Robotic Missions is out of keys from this enchanting universe that surrounds Railroad Paths. But still there,

    Konrad Kucz

    tergiversates between the simple melody and rhythmic complexities which pullulate on this brilliant opus that is Railroad Paths. A quite simply genius album from the Polish synthesist, whose only defect is to have passed unperceived. Thing that, I hope, this chronicle will try to correct.
    Sylvain Lupari



    Konrad Kucz'

    last album was one of the best ambient CDs I had heard in a long time. When this one dropped through my letterbox I was expecting more of the same. This however is nothing like it's predecessor in style as now instead of exquisite sonic soundscapes we get a blistering Berlin School tour de force! A gorgeous relaxed bubbling sequence merges with lovely peaceful flute on the first of five "Paths". We then get a storm surge which combines with the mutating sequence to create a feeling of grandeur. Sounds swell to majestic proportions gaining an almost euphoric spiritual quality. This really is superb stuff, a little like a mixture of

    Tangerine Dream

    and

    Jarre

    . The second Path erupts with a rapid deep bass sequence of almost earthquake proportions. It morphs wonderfully as whooshing electronics fly from channel to channel. A second higher register sequence flashes over the top. From this highly exciting almost manic track we move on to the third Path. Again a heavy but steady bass sequence provides the initial structure around which more pulsations begin to weave. There is a grungy almost growling mid section through which the patterns evolve, re-emerging with a rhythmic backing and vocoded speech (which didn't really work for me). The fourth Path starts with what could be the sounds of a railway siding, gorgeous soft pads completing a misty early morning picture. Just when I thought we were going to get a more abstract piece however a fantastic sequence bubbles forward like an unstoppable force. The track just gets better and better with equally impressive lead line creating the ideal backing for playing air keyboard. There are elements that reminded me of

    Fanger & Schonwalder

    . In the sixth minute we return to atmospherics out of which emerges a new sequence, though this time more swirling and mystical. It's all change again a couple of minutes later as yet more sequences are urged into action but again they are only making a fleeting visit before we enter a lovely, almost early

    Vangelis

    like section, tron pads mixing with moody lead. What a wonderful track this is. The final Path returns us to twittering cosmic effects and solar winds. Uplifting pads swell creating a similar mood to the latter stages of the opener. A slow thoughtful sequence provides a little structure as things become quite moody. These pulsations are very quickly replaced by a new pattern as we meander first one way then another. We now enter a rather percussive section out of which float soothing mellotron pads which take us close to the end, finishing with yet more metallic percussion. The last track Robotic Missions is labeled as a "bonus" presumably because it is not one of the Paths. I suppose the

    Kraftwerk

    feel is intentional- all rather upbeat and body moving. Nothing like anything else on the album but really catchy complete with more vocoded speech (which I thought really worked well this time). A superb track and indeed I would love to hear more of what

    Konrad Kucz

    does in this style.

    David Law - Neu Harmony



    The optimistic opening of the album reminds me somehow of

    Kraftwerk's

    Trans Europa Express introduction - perhaps it is just a suggestion awoken by the title Railroad Paths. Soon there comes the leading voice, weaving its layers upon the electronic meanders of the introduction theme - the mood changes into rainy sadness. The music becomes very suggestive here: the Listener observes, what happens on the screen of his train window, now there are familiar objects there, painted with the rising voice of the leading sequencer, then there are shapes turning to abstract stains, marked with some loose pulsations in the sixth minute of the track. Along with the second part of the suite, we experience a slight increase of speed, the weather outside is getting worse, it still grows darker, and in the end of this marvellous composition we find ourselves in a crossroad soundscape covered with grey dust of the lamentation of "mellotron choirs", which make as great an impression as an instrumental ambient track Silent Sorrow in Empty Boats by

    Genesis

    . The Listener expects some change, although she is not sure, what comes next - there it is, a ferreous ostinato of the third piece, intermingling with a sort of an electronic coloratura, bringing a very nice yet nostalgic motif. Not even four minutes have elapsed, and we can hear the percussion line and some advanced key changes. Apart from that, we now have a new companion in our journey, a nice vocoder part. Path 4 is the longest composition of the set, and somehow the plot point of

    Kucz's

    concept album. The Path 3-sequence comes back with its mature structures, but this time we will reach the tune coming from some other direction and by slightly different weather… The final path is no doubt in close relationship with its Berlin predecessors, it appeals with dreamy soundscapes reminding of the foggy Mysterious Semblance at the Strand of Nightmares by

    Tangerine Dream

    . At the end, there appears a filtered sound of train wheels rolling, which makes us go into trance. The last two minutes of Path 5 bring sunlight and optimism at long last… The "bonus track" embodied by Robotic Missions would be an ideal A-side to the single promoting Railroad Paths. It is a short, dynamic piece of music, filled up with percussive sweeps and grooves, vocoder vocal line, stereophonic tricks throughout the metallic sequences. Last but not least, what we can hear here is a hit-like melody sounding as if it was dedicated especially to devoted

    Kraftwerk

    fans! Railroad Paths is a fantastic album, the other face of

    Konrad Kucz

    after the quiet and meditative Vita Contemplativa Litania.

    Igor Wróblewski



    Railroad Paths by Polish composer

    Konrad Kucz

    contains lots of beautifully rendered vintage sounds and choir textures, fx's and sequences, which almost immediately made my mind wander back to the great analogue days of the late '70s. The music is split in five "paths", which creates a great moody atmosphere, featuring some very nice mellotron strings. After the tasty 10-minute introductory track, Path 3 starts off with heavy sequencing, later shifting to a rhythmic piece with some nice vocoder vocals, while Path 4 features some great Berliner School sequencing with Schulzian '70s soloing on top as the trains pass by on the background. The ending of the piece with mellotron strings evokes a h2 sense of nostalgia.
    The final Path 5 sounds a bit more disturbing between the lofty textures and mellotron flute melodies, while the metallic sounds bring

    Kraftwerk's

    Trans Europa Express to mind.
    As a bonus, the four minute

    Kraftwerkian

    Robotic Missions is a dynamic, poppy track with vocoder vocals , but a bit out of place here in my opinion.
    All in all, Railroad Paths is a well composed, produced and mastered album keenly fusing vintage sounds with contemporary techniques. Nicely done, Konrad!

    Bert Strolenberg

    Availability: Goods in stock | product: 1CD


    7,64 EUR
  • Konrad Kucz | Vita contemplativa - litania

    Konrad Kucz | Vita contemplativa - litania

    Bestseller Good price
    Written and recorded between 2005 and 2006, Vita Contemplativa Litania of the Polish synthesist

    Konrad Kucz

    is the very first album of Poland label Polonaise Generator.pl. An ambient, dark and emotive opus which opens with an odd cosmico-monastery mass where a cosmic monk mutters an incantation propelled by sinuous ethereal waves. This galactic mass stops abruptly! And the intro continues, wrapped of heavy layers whose fine oscillations increase the gradually emotive intensity. Muttered prayers, intermingled with heavy resounding layers furnish Litania/Intro, initiating a stunning galactico-pastoral journey in the heart of dark and medieval ambient with a fine cosmic aura.
    Vita Contemplativa Litania is a slow liturgy which oscillates between two universes on slow strata that move at the speed of cloister meditation. There are few movements. Only longs synthesized waves that float in suspension among fleeting choruses that murmur and espouse hardly audible dialects in a heavy atmosphere of sound cloister where only spirits seem to hold a right-of-way. Litania I is a succession of atonal loops which tangle up among placid sonorities and ecclesiastical elegies, whereas the resounding loops of Litania II are spreading like slow metalized elytrons. Fine arpeggios glean here and there with a delicate insistence, on a lineal movement that concludes with a dark organ which opens voices of a sidereal choral to the syncretic vocalizes.
    Adeptly mixing the austerity of medieval monasteries to a cosmic enquiry,

    Konrad Kucz

    weaves webs of a strange incantation to liturgical paradox on a succession of movements of unequal oscillations and Gregorian chants of a fragmented universe. Skilful,

    Kucz

    knows how to mould his ambiances by adding to it of fine lines of bass, enveloping and fugacious layers as well as isolated choruses, increasing gradually and continuously the intensity of its work to reach a superb paroxysm with a very musical and poetic final where everything fits together in order to conclude a piece of art both mystical, dark and constantly intriguing.
    I got to say that Vita Contemplativa Litania is not easy. It is a work torn between two ecclesiastical antipodes where the Renaissance seems to rebirths in cosmic spheres. It is necessary to listen attentively Vita Contemplativa Litania to appreciate all subtleties of this highly ambient work where the weak surges and sequences animate parsimoniously parts V, VII and VIII. But beyond the thin and short rhythms hide an astonishing intensity which climbs with hesitation among superb poetic layers (Litania VI and Litania X), in a fractionated universes where atmospheres as much cavernous as cosmico-tribal are in perpetual tugging. An astounding and astonishing work for fans of dark and syncretic ambient!

    Sylvain Lupari gutsofdarkness.com & synth&sequences.com



    A lone Gregorian chant calls out over some of the most wonderful dark windy drones I have ever heard - then abruptly, as if a guillotine has fallen, silence descends. A mixture of wordless vocal and string pads now float through the ether. These have a slightly lighter feel to them - but not much. More really deep bass drones arrive. This is incredibly impressive- and we are still in the Intro Part 1 has a more metallic feel but even these tones have a deep reverberating feel to them. A slightly disturbing haunting quality is emphasised by the delicate and sparse use of more Gregorian utterances but these are not of the "singy" type, more like a mournful warning. Part 2 shimmers into life, it's like a spinning coin slowly winding to a halt then speeding up again. A most curious and compelling effect. Then in come some tinkling water droplet type notes marking out the most delicate of melodies. There is such a subtle beauty to it all but with a feeling of unease still hovering in the background. Again there is a sudden change as the warning chants give a single utterance then fade away leaving a simple organ line which at first is so deep that it hardly sounds like an organ at all. Angelic wordless choral sighs give a rather spiritual feel. Their memory slowly fades into the distance as we move to Part 3 More conventional Gregorian chants return, beautiful in their own right (and not overdone), their exquisiteness heightened by the most subtle of melodic sequences. Part 4 returns us to dark windy realms with doom laden string flourishes. The contrast with the previous track couldn't be more marked. Choral pads do soften things nearer the end but there is still a mournful feel to it all. The mood does lift again a little for Part 5 as things become rather spiritual again. Ideal for a quiet moment of contemplation from which we are awoken as the backing swells. It's as if there is a sudden realisation of something that has been eluding us. Part 6 lightens the mood still further- simply Heavenly stuff. The next part fills my mind with pictures of the cover artwork - a moody black and white image of a boat floating on a very still lake as the sun rises and the morning mist disappears. It's a very beautiful and serene vista / soundscape. A delicate sequence slowly rises as Part 8 starts to form. The subtlest use of chant colouring punctuates the wonderful pulsations as they seep into your soul then something is said and immediately we descend to silence. Part 9 starts with deep crashing effects as we enter more malevolent realms. It's as if doors are being slammed behind us, cutting off any chance of retreat. Part 10 sees no let up to the uneasiness as watery effects mix with eerie strings. Moaning from the long dead rises up from the depths of the dark lake. Clanging effects and the sound of something being thrown into the water heighten my dark thoughts. The Finale finishes things with a more positive and again "spiritual" feel as subtle organ mixes with gorgeous deep pads and just the slightest wordless vocal colouring. The sound starts to surge, even becoming quite euphoric but there is still a hint of sadness right until the end. Sure, this is an "atmospheric" album but that term simply does not do it justice. It is a masterpiece of painting pictures with sound and quite frankly I am in awe of Konrad's skill. Surely we must hear more from this guy in future. Musicians of this talent are rare in any form of music. I absolutely loved this album. A truly amazing release.

    David Law SMD



    Mournful, enchanting chords seem to fill completely the dimly lit room: majestic electronic contemplation is the mood conjured up by

    Konrad Kucz

    already with the first sighs of his fascinating, thoughtful, indeed intimate record. Wonderful alternations of elevated, but not at all exaggerated chords, arranged for electronic organ and choir, leave no doubt that

    Kucz's

    work is an impressing, sequential Stabat Mater of the XXI. century. If one would like to try to describe this music, one would perhaps say:

    Henryk Mikolaj Gorecki

    meets

    Wolfram Spyra's

    Meditationen - but it is a mere schematic analogy. Nevertheless, the Listener has to agree, that, as far as the formal side is concerned, with Vita Contemplativa Litania

    Kucz

    writes the next chapter to contemporary symphonic music, whilst, as for the instruments used, he shows, in such an original way one can arrange larger musical forms, whereby nothing really new seems to have been said. The whole composition makes a huge impression, it is awesome and moving - and it also gives courage and hope. There is definitely enough room for all emotions which we define as great or important. If (and this is by

    Kucz

    indeed the case) the whole album is not elevated in an exaggerated way, then, one might say, the artist managed to achieve a very good effect. Sequencer lovers will also not be disappointed - let us pay special attention to the marvellous (unfortunately, not really long) Litania 8...

    Igor Wróblewski



    This is the first release of the Polish Generator-label, and as the title already suggests, it's a nice contemplative affair into symphonic ambient music. I got the impression Litania is part of a series of albums of Mr

    Kucz

    , as I found at least one other album under the Vita Contemplativa - moniker on his website. The highly atmospheric music of Litania, which comes in ten parts plus an intro and a finale, is of a free form, gliding and overall relaxing nature. It's a softly vibrating and pulsating textural tapestry with subtle sequencing patterns, occasional organ passages and Gregorian-kindred prayers, all spreading out its wings like sonic perfume. Some parts, like the second half of "part III" roam in heavenly spheres as the choirs fade in, while there are orchestral parts in "part VI", soon followed by the sedate, soft waves of soundscapes in the next part. This all make this a rather peculiar but rewarding 55-minute ambient recording which demands active listening.

    Bert Strolenberg www.sonicimmersion,org

    Availability: Goods in stock | product: 1CD


    7,64 EUR