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Yarek

(6 albums)
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  • Yarek | Chilli Zone

    Yarek | Chilli Zone

    Chilli Zone wydany nakładem amerykańskiej tłoczni Ricochet Dream, to kolejna niezwykle udana płyta w dyskografii Yarka, Jarosława Degórskiego. Yarek na tej płycie buduje stylistyczny most, za pomocą którego próbuje łączyć odpryski ze świata klasycznej elektroniki oraz brzmienia chilloutowe. Jak wspominał sam artysta nie obyło się bez problemów ze sprzętem, mimo tego Yarek dokończył te sesje. Klasyczna elektronika, podrasowana chilloutową estetyką brzmi znakomicie ale bynajmniej nie odkrywczo. Yarek też do końca się nie opowiedział czy chce nagrywać berlin school czy lepiej zaś czuje się w nowszych brzmieniach. Na Chilli Zone rozwija za to medytacyjną aurę swoich nagrań, która w żaden sposób nie zakłóca ich struktury. Ambientowe przestrzenie udanie rozcieńczają owe "berlińskie" fundamenty, nie wpływając aż nad to na ich dekonstrukcje. Udana wolta, której wynikiem jest elektroniczna muzyka będąca wpół drogi między "starym" a "nowym".

    R.M.

    Availability: Goods in stock | product: 1CDr


    10,45 EUR
  • Yarek | Berlin Ratusz

    Yarek | Berlin Ratusz

    Yarek rozwija skrzydła na zachodnim rynku. Płyta Berlin Ratusz z zapisem świetnego koncertu z Berlina, to doskonała wizytówka polskiego artysty. W tych 10 kompozycjach, Yarek pokazuje się jako niezwykle progresywny artysta. Estetyka "berlin school" wydawała się dla niego za ciasna. Album zyskał motoryczną, rytmiczną moc której bliżej do estetyki techno i trance. Być może i miejsce koncertu tego wymagało, bo Berlin to kolebka awangardowego techno. Poza tym rytmicznym żywiołem, Yarek ze swadą sampluje mocne, rockowe gitary odpowiednio doładowując nimi swoją muzykę. Kapitalnie to wszystko uzupełnia głos Łukasza Kołakowskiego. Jego wokale utrzymane są w bliskowschodnim, arabskim klimacie, z resztą jedna z kompozycji o wymownym tytule Minaret, sama wiele tłumaczy. Czyżby to kolejny ukłon w stronę Berlina, miasta kosmopolitycznego w którym nie brakuje muzułmańskich imigrantów? Ta płyta zrywa z wizerunkiem Yarka jako kontynuatora szkoły berlińskiej, a ukazuje go po prostu jako poszukującego artystę.

    R. M.

    Availability: Goods in stock | product: 1CDr


    10,63 EUR
  • Yarek | Last Train to Berlin

    Yarek | Last Train to Berlin

    Bestseller
    The 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

    Availability: Goods in stock | product: 1CD


    11,01 EUR
  • Yarek, Friends | Spirits of the Dust

    Yarek, Friends | Spirits of the Dust

    Bestseller Good price

    Yarek (Jarosław Degórski) is a well-known composer and performer in the electronic music metier; the Generator.pl label released already two albums signed by this artist: Noc na zamku (A Night at the Castle) and Organix. This time Yarek decided to dust off his oldest electronic pieces, rearrange them completely and (re)record them with a little help from his friends. The introduction is a pretty tough try-out: classic electronic sounds intermingle with solid rock guitar-riffs, so that we are dealing here not only with fantastic moods as if taken from the craziest Redshift dream, but also with some industrial spice to it! The second piece is a quieter one; still, it's not just dreamy ambience in a major key, but a wonderfully swinging dialogue between soft keyboards and an improvising guitar - it would have been a "top hit" on Future of the Past or Invisible Fields, had Yarek been invited to Wolfram Spyra's jam-sessions... This track is a brilliant melange of nostalgia, gloominess and some tricky sense of humour and remains so far my favourite piece in the whole set. The third impression is one of the biggest surprises as far as this album is concerned: aggressive beats, guitar sounds even harsher and harder, and, last but not least, there comes this female voice in the oriental manner (plus some additional ethno-elements)... Believe it or not, I couldn't help but think about Crossfire by Die Krupps (!!!), so what we are dealing here with is a definitely daring CD, how far from typical sequential EM moods, but still, how cool! In the fourth track, the ethno taste gets still more exposed, whereas the background gets rather traditional, exit harsh guitars. The fifth piece is a fantastic sequential block in a mid-tempo; while in the background you can hear shiny, ashy patterns of sequential snowflakes, the leading tune is sung by several female voices, once again oriental-tuned. This impression has very much in common with some of the moods conjured up and explored by Klaus Schulze on his newest releases (Contemporary Works II, Moonlake, Kontinuum) and is indeed that great! Track #6 is quite surprising, this time Yarek combined classic electronica, upbeat ambient a la Autechre or Fanger & Siebert and a bit of acid - with some female voice ornaments sprinkled over it, at first once more in the "new schulzean" mood, then turning into something a bit like wordless paraphrases of Blue Fiction's catchy tunes. In the seventh track there appear once more some distorted guitars, this time they become background for an unconventionally arranged "theatre soundtrack", though. The next piece is probably the most "conservative" one in the set - this composition really does sound like Tangerine Dream's film music in the early eighties - but even here there is enough room for the overall spookiness and gloominess. The final track is a quite optimistic (which is not the same as "quite mellow", however...) electronic hymn with further schulzean chants and additional moody synth-figures every now and then. The music gets prouder, sharper... and all of a sudden, it just fades out, comes to an end. It turns to be such a short album - or does it only seem to be so? Be it as it may, this CD is a brilliant puzzle of moods, inviting you to take the astounding journey once more and then once more, you may be sure that there are even more wonders to be found and explored...

    Igor Wróblewski

    Availability: Goods in stock | product: 1CD


    7,64 EUR
  • Yarek | Organix

    Yarek | Organix

    Bestseller Good price

    A while after his splendid debut in the Generator.pl label, Yarek prepared a new work: Organix. This album is filled with satisfying, deep, rich sounds, already from the very beginning of the China Town - introduction: what we are dealing here with is a truly moving melange of analogue and digital/computer sound-layers. Daab is not exactly that kind of Dub associated with Bill Laswell or Mad Professor; it is rather a chilling-blue hommage to Jean Michel Jarre and his famous Oxygene. Delfin is for me the best piece on the whole album, a fascinating synthesis of traditional Berlin-inspired electronica and abstract "new sounds": on the one hand we have here a smooth, polifonic ostinato, on the other hand some vocal samples as if taken directly from a dark-ambient piece by Monolake! The fourth piece in the set, Fluidion, is a further proof that Yarek is an ingenious eclectic composer: convex and concave shiny ostinato-structured sounds in the background are deeply rooted in the sequential tradition, whereas the sheer tempo of the piece and some further arrangement details make this composition an ideal candidate for some nice Fax Records Compilation (well, a compilation filled with "well-tempered", Passing Airwhales - like impressions rather than granular-synthesis - or techno-experiments, that's for sure). My next favourite one, apart from Delfin, is the fifth piece entitled Lachemma. Yarek was without any doubt fascinated with contemporary Klaus Schulze's music as presented on Farscape or Contemporary Works. The Listener will be very satisfied with this impression, filled with dreamy abandoned sequences with a slight ethno-flavour, skillfully combined with improvised ad-libitum female vocals. Three further impressions: Koralowa Rafa, No Sequence and Radio Active are multi-layered recordings rich in vocal and abstract samples: Yarek definitely had a jolly good idea how to combine traditional sequential electronica, Jean-Michel Jarre's influences and Frankfurt chill-out in a very fresh way. Wiena is a subtle play between sultry dissonances and chrome-tissued chords plus some sombre solo-synthesizer phasing bringing in the mood of a navy-blue, digitalized snake, climbing over sequential rocks and stones. This piece is my third favourite one in the Organix set. The final composition Zx Electro is an intriguing development of sombre, murky moods presented before, every now and then with less beats and sequential blocks; after a while there reigns perfect darkness, and still there are some synthesizer murmurs and recurring sample waves to be found in the spectacle. A very fascinating and very "organic" journey indeed... a highly recommended one.

    Igor Wróblewski

    Availability: Goods in stock | product: 1CD


    7,64 EUR
  • Yarek | Noc na zamku

    Yarek | Noc na zamku

    Bestseller Good price

    This seems to be a live recording (part of the Polish event "Olsztyńskie Lato Artystyczne 2007") although it overall sounds like a studio work. The album offers eight tracks of intense, fresh, versatile Berliner School, slightly Redshift-oriented sequencing and lush solo voices. The third piece La Orkestra accelerates into fourth gear, as the well rendered electronics, beats and rhythms venture into dance/trance territory as Tangerine Dream's Kiew Mission kindred vocal samples pass by through the sonic spectrum. Vocal phrases and breathing sounds mingled with holdback electronics slow things down again on Ambient II.
    The following piece Live is made up of repetitive, mid-tempo paced hypnotic sequencer structures over which trance-like solo voices freely hover, as a dance beat shortly kicks in halfway. Ambient once begins with the Kiew Mission kindred vocal samples, after which stereophonic wide spread trancy sequencing, clicking rhythms and a lofty solo-voice set things in pleasant mid-tempo motion.
    Berlin comes next, featuring breathing sounds, Spyra and Jarre - flavoured sequencing structures and beats, topped by a Oxygene pt1 - reminiscent solo. Misja na marsa closes the almost 50-minute album with powerful, in-your-face sequencing, Kraftwerkian voices and beats, with nice vintage sounds fading away at the end.
    Although the origin of this recording raises some questions, this sure is a dynamic, sparkling and well produced release that will please the ears of lots of electronic music fans out there.

    Bert Strolenberg www.sonicimmersion.org



    One short announcement - we get to know, how the artist and his work is called - and there immediately slide the first tangerine-brownish lights onto the stage. The first part of the suite brings fantastic sequencing in a bit of a Redshift-style, especially as far as attractive semitones and jarring sequencer sounds are concerned. Mrok ("Dusk") is based on a hypnotising sequence, intermingling with electronically generated sweeps, washes and murky "breathing" sounds. Here, like in the previous title, all tracks are very attentively arranged, one should also pay attention to the wide stereophonic field of the impression. La Orkestra means a certain increase in speed and an introduction of the beats: generally, the atmosphere conjured up here has something in common with both parts of Xangadix by Pino and Wildjamin, however, you will still find here more sequencing stuff as typical acid or trance. Voice samples, which could be associated with Kiev Mission by Tangerine Dream, make for an interesting background and also for the rhythmization of the piece in a way. It's those voices that bridge La Orkestra and the following piece Ambient 2. "Ambient"-style lurking beneath this title has - what a pleasant surprise - much in common with vinyl Frankfurt ambient of the mid 90's. Live consists mainly of hypnotising rhythm patterns, appealing ostinatos in mid-tempo, and further sounds and noises as if coming from a secret abandoned rocket station, hidden deep under the cellar rooms of the castle. Everything here sounds rusty, yesteryear- and future-explorative at the same time. In Ambient, the Listener will be served some Berlin patterns once more, but also this time they just sound fascinating and fresh. Berlin could be understood as a title suggestion, where the goal of our next musical journey is, and still it is by far not the most "Berlin-like" composition on the whole album: if at all, we will be exploring rather a Spyra-side of Berlin (whereas Spyra himself comes from Kassel) than the corners described by Klaus Schulze or Tangerine Dream. The final track Misja na Marsa (Mission to Mars) is a pretty long piece, in which there is a place for pumping sequencers as well as for ambient passages and cosmic murkiness. 50 minutes of Noc na zamku (A Night in the Castle) really do make a great impression indeed.

    Igor Wróblewski

    Availability: Goods in stock | product: 1CD


    7,64 EUR