Michal Jacaszek - Pieśni (2014)

Elektroakustička obrada tradicionalnih crkvenih pjesama poljskog saudade-ambijentalnog snjegovića.




Polish National Centre for Culture has published a new Jacaszek album ‘Piescni’ – previously unpublished interpretations of traditional church songs. The pieces have been created over the last few years mostly as commissioned works, and are now finally collected and released on CD over at the NCC web site.



Glimmer (2011)


GLIMMER is a natural effect of my constant search for new, chamber, elektroacustic form of music. Subtle, almost unfinished, vanishing electronic parts are completed by sounds of  harpsichord (Małgorzata Skotnicka), bass clarinet (Andrzej Wojciechowski) and metalophone (Jacaszek). Musical harmony and tones of „Glimmer” recalls baroque chamber music. But clarinet, metalophone and characteristic electronic phrases gives fresh, unique form.

PITCHFORK
„Think of Glimmer as a little symphony, just with singles, and made by a musician who can’t decide between the roles of producer or composer. Really, he shouldn’t anytime soon.”more
NPR – First Listen (week of 11/28) “The music of Jacaszek drifts along the fringes of classical, electro-ambient music and experimental jazz — and ultimately transcends them all. There’s nothing quite like it.” more
BOOMKAT “his most satisfying transmission yet…” “… one of the most satisfying, accomplished examples of its genre…” “Astonishingly beautiful.” more

DUSTED “… a largely successful effort.” “… Jacaszek’s wedding of disparate styles pays off in Glimmer‘s evocation of certain moods and expert shifts from mode to mode.” more
HEADPHONE COMMUTE „Listening to Glimmer is like glancing through a dusty window at a black and white film of your past.” more
FLUID RADIO (UK) “…masterpiece..” “Jacaszek and those composers who are refurbishing modern classical for the new century have stumbled upon the sprung rhythms around us, and an entirely undiscovered art form is coming into view.” more
BBC (UK) “Glimmer is an immediately immersive work…” more
MILK FACTORY – 4.5 out of 5 more  “… most ambitious solo effort.” “… undoubtedly his most restrained and finely crafted record to date.” MILK FACTORY UK – Album review
RESIDENT ADVISOR 4 star review “… power in intense focus and brooding inertia…”  “… glacial beauty from his long strokes of melody.”RESIDENT ADVISOR news “Like much of his past work, including last year’s RA Podcast, the LP blends classical music with modern ambient production.”
BRAINWASHED “… Glimmer is a remarkably singular, vibrant, and deep listening experience”more
GROOVEMINE / 5 stars “This is Throbbing Gristle wrenching Arvo Part’s Tabula Rosa into a mutant form.”
THE NEEDLE DROP:“’Dare-gale,’ armed with loads of classical timbres, drones ominously in waves of sound that progressively get louder. The concept seems like a simple and uninteresting no-brainer, but the layers and detail here make this track absolutely gorgeous!” more

FOXY DIGITALIS – 9 out of 10 “As astounding as Treny was, Glimmer is equally as brilliant. Jacaszek has truly created another masterpiece.” more

SILENT BALLET – Artist of the week + album review / 8 out of 10
“… a work of stellar flow and haunting resonance.” “Glimmer is the ore that the prospector overlooked, the book that the librarian misshelved, the dying sentence spoken after the family had left the room: a modern artifact, encased in clay and left to deteriorate in a way that only adds to its glamour.” more

IMPOSE – Week in Pop “… Jacaszek too creates music for the spaces we can not describe through the delicate teasing of classical instrumentation and the mystic aura from the sound of running air.” more

EXCLAIM!
“…without a doubt some of his best work and one of the most beautiful albums of the year…”more

ALARM MAGAZINE – Vs. Column feature
“The album’s inconspicuous complexity and professional performances make it a gem among ambient releases.” more

IBIZA VOICE – Interview “Clearly, the album marks music’s evolution in the first decade of the21st century.” “The Polish musician joins the ranks of artists such as Francesco Tristano, Brandt Bauer Frick Ensemble and Arandel who have crossed from conservatories filled with wood wind, strings and percussion to computer programmes and machines presents new album…“ more

VIVOSCENE – 9/10 „If you would hear a master at work, then explore the music of Jacascek.” more

RCRD LBL premier of “Dare-Gale”: “Jacaszek is back and coldly serious as ever on ‘Dare Gale.’ The Polish composer treats airy, abandoned noise with classical hands to make dark ambient music that could easily soundtrack the next time you get trapped in a cave.” more

CULTURE ADDICT: “Jacaszek’s latest album, Glimmer, is marked by a noticeable battle between melancholy and beauty, like it’s hovering in some gaseous grey area between both.” more
TINY MIX TAPES“… sparkling-ambiance, featuring electric static and softly spoken tickled  bells…”more
IMPOSE “…  if the track „Dare-gale” is any indication, Glimmer could make a good companion to Hecker’s Ravedeath, 1972 that came out earlier this year.” more

EXCLAIM
“Part ambient, part avant-garde, part baroque, this is some intriguing stuff.” more

TINY MIX TAPES news section “…Treny… was, by most accounts, a startling and memorable achievement in the realm of dark ambient music, gracefully navigating the middle ground between contemporary classical and something much more haunting.” more

RESONANT STRATA “… an excellent record that shines a lot brighter than most…” more
SOUND OF MUSIC – “… fascinating and successful” Album review

THE MUSE IN MUSIC – 8.5/10 shortlisted

[sic] MAGAZINE - favourite albums of 2011
GOOGLE MUSIC / Antenna Google Artist of the Year
SELF-TITLED / feature
2011 YEAR END LISTS best of 2011
BEATS PER MINUTE / Album reviewTHUMPED –Interview and album review
SPUTNIKMUSIC -  album review
Gonzo Magazine – album review
Rifraf Magazine (FR) – album review
Rockdelux Magazine (ES)- album review
HHV.de – album review
BABYLON MAGAZINE – album review
MUSIC ADDICTED – album review
AUTRES DIRECTIONS – album review
ESSMAA – album review
GROOVE MAGAZINE – album reviewCHRONIQUE SELECTRONIQUES – album review
Humo.be – Album review
TSUGI MAGAZINE (FR)  reviewNOISE MAG – album review
FREQUENCIES – Album review
BLN.FM – Album review
GO MAGAZINE Album review
KULTBLOG: ‘… the result of his strongest album yet.” more
REINBOONSTRA – album review

Pentral

soundcloud.com/jacaszek/sets/pentral

PENTRAL (lat: inside, spirit, temple) is an attempt to describe a gothic church interior by means of sounds. A temple owes its special atmosphere not only to visual elements but also to characteristic acoustics – reverb, enhancing and prolonging a slightest whisper into infinity. i spent several days in three Gdansk historic churches (Oliwa Cathedral, St. Nicolas’ church, St. Mary’s Basilica) recording chanting, organs, and also a broad spectrum of accidental noises. Source sounds were were used only as a stimulus which releases the sound of the whole inside, and as such, they were consequently retouched in the post production process. Studio work and also the atmosphere of melody and arrangements were subordinate to the idea of portraying the church as a place filled with distant mysteries, a huge music instrument.

The project was realized with the financial support from the Government of Pomeranian Region

TEXTURA MAGAZINE,Canada: „If the sensibility of Michal Jacaszek’s debut release, Treny, suggested a kinship with the mournful classical music of Henryk Górecki, then Jacaszek’s follow-upPentral (Latin for “inside, spirit, temple”) has more in common with the music of Giya Kancheli, a Georgian composer who’s sometimes categorized as a “holy minimalist” along with Arvo Pärt and John Tavener. Why? Because the most memorable thing about Pentral is its abrupt, almost violent dynamic shift between micro-sound and volcanic episodes ,something for which Kancheli is also well known. Following the relative calm of “I,” for example, where intertwining organ smears quietly emerge, “II” explodes with a jarring eruption of fortissimo organ chords before likewise retreating into a cocoon of warm chords and tinkling bell tones. In “VI,” the pulverizing switch from subdued dungeon textures and the high-pitched angelic voice of Stefan Cejrowski to organ blasts is jarring in the extreme. The “holy” dimension is also obviously felt in the concept driving Pentral, specifically Jacaszek’s desire to aurally capture the unique, reverberant acoustics of a gothic church interior. To do so, he spent several days during the summer of 2008 in three Gdansk historic churches (Oliwa Cathedral, St Nicholas Church, St. Mary’s Basilica) where he recorded the vocals of a small number of singers, organs, and myriad other noises, the sum total of which were then subjected to retouching in the post-production process.

At thirty-six minutes, the ten-part Pentral makes its case succinctly and with admirable economy (only three of the ten pieces exceed four minutes); to his credit, Jacaszek is able to conjure powerful mini-universes of mood in less than three minutes. If the new work is less endearing thanTreny, it’s due to Pentral‚s focus on mood, atmosphere, and dynamic contrasts; the earlier album’s emphasis on melody renders it the more inviting of the two whereas the new work is austere by comparison and in the quieter passages more reserved and introverted. Even so, the new album remains a nevertheless fascinating example of textural moodscaping (“V,” with its seamless, meditative web of percussive knocks, organ tones, and textural atmosphere, a case in point) and the aforementioned dynamic contrasts don’t occur in every track. In “III,” gentle organ chords intone against restless background textures while choral voices (Maja Sieminska, Lena Majewska, Aleksandra Kisiel-Zawada, Stefan Wesolowski) add wordless warmth. In “IV,” soft percussion tinkles and soft organ tones escalate in intensity alongside an almost subliminal vocal presence (Maja Sieminska), so faint it verges on ghostly. Moments of sunlight are leavened by the percussion- and piano-heavy gloom of “IX” and the dungeon-ready “VII.” Pentral, a fascinating project even if it’s the less accessible of Jacaszek’s two releases, is available in two formats, the standard CD and as a DVD featuring a surround sound mix plus a documentary, “Pentral – the sound of the interior,” by Antek Gryzbek.”

Chris Power DROWNED in SOUND.USA: „Cure fans of a certain age might remember the summer of 1989 as a fraught time of life, one dominated by leaps made in the direction of cheap stereo equipment as those lovely and very, very quiet wind chimes that open Disintegration gave way to an organ blast so loud as to streak your mascara. Imagine the opening chord of ‚Plainsong’ chopped and stretched to a minute in length, then the wind chimes, and you’ve got the basic idea of ‚II’, a stunning (literally) track from Jacaszek’s Pentral. Those expecting a similar ride to that offered by last year’s sublime and rapturously received Trenymight be discomfited by its lack of lush melodies, but perseverance reveals this to be an equally rewarding experience.

Recorded in three of Gdansk’s oldest churches,Pentral is an attempt to describe a Gothic church interior in sound. It’s certainly easy enough while listening to visualise ribbed and vaulting domes, smoky depths and guttering candles – hell, maybe even a transept or a clerestory or two. Found sounds mingle with strings chopped and modulated in a Murcof-like fashion, scraps of incredibly moving (or, in the case of ‚VIII’, very eerie) choral singing, tolling bells and digital squelches embedded deep in the mix. Aside from those trouser-spoiling organ blasts, this is a journey so subtle that by the time you reach the meditative climax of ‚X’ the most scant of editions to the sound design seem epic. I’ve no idea where Jacaszek is headed next, but I’m going there too.”

Boomkat UK: ” Jacaszek follows up last’s year stunning and critically acclaimed ‚Treny’ album with another long player of incredible depth and ambition. ‚Pentral’, which is Latin for ‚Inside, Spirit, Temple’, is a conceptual project attempting to describe a gothic church interior with sound. In order to realise this, Jacaszek set about recording ‚Pentral’ in three of Gdansk’s oldest churches. Divided into ten parts, it could be said that ‚Pentral’ is an uneasy listening experience, throwing the listener violently at times with almost overwhelming dynamic contrasts; what begins as a slow and tense build seemingly created from sample based recordings suddenly explodes into an unrelenting, shimmering wall of discordance, sounding like a hundred church organs screaming out. The compositions have all the claustrophobia of the nastier end of Scott Walker’s ‚The Drift’ arrangements, yet there does seem to be some light at the end of the tunnel – even in its most distressing moments there is, within the ethereal racket, something of an uplifting optimism. While ‚Pentral’ does contain passages of melodic beauty such as those found on ‚Treny’, this is a journey that is more rooted in atonal explorations. It has more of a ‚found sound’ source material feel, which in part comes from Jacaszek’s use and capitalization on accidental noises captured whilst recording in the church environments. „Part III” for instance develops into a absolutely jaw-dropping choral arrangement, all laced in background static and percussive, treated piano recordings, never overreaching, never trying too hard to overstate. Elsewhere we find pieces which attack with an intent to terrify; „Part VI” is a schizophrenic composition, frantically and without warning cutting between sparse, low-end tension and more pummeling organ clusters – the unexpected bursts of dissonance being on a parallel with the noise blasts of Sutcliffe Jugend and early Whitehouse. But this is not a noise album by any stretch of the imagination. Ghostly operatic voices and unexpected minimal use of percussion colour the low organ tones and treated sounds, mixing unsettling feelings with equal amounts of perplexity and intrigue. It’s as much about the silence in the pieces as it is the compositions; within its minimal moments, what comes through it the vastness of the church spaces, the slow decay of the sounds entirely owing to the environments in which they were recorded. It’s dark and it’s certainly desolate at times, but in other moments the pieces purvey a sense of these buildings’ strength and stability – these historic churches have stood the test of time. Gorgeous edition housed in a 6-panel digipack. The CD contains the ‚Pentral’ album, and the DVD contains a 5.1 Dolby Surround Sound mix of ‚Pentral’, and a documentary by Antek Gryzbek.”

Treny (2008)



TRENY MIASMAH/Gustaff Records 2008
Jacaszek – electronics, compositions, production elektornika, kompozycje , produkcja
Stefan Wesołowski – string arrangements, violin
Ania Śmiszek Wesołowska – cello

On “Treny”, Jacaszek and the accompanying musicians combined electronic music with the sounds of classical music. Classical instruments and vocal improvisations have been transformed electronically. As a result, he achieved  slightly blurred lo-fi sound combined with raw violin, cello and vocal melodic lines. Grieving, slowly repeating themselves electronic phrases, violin harmonies and beautiful, delicately processed electronic vocals – this is the music on “Treny”. There is a lot of silence and concentration, longing and anguish.

Michal Jacaszek's 'Treny' is the seventh release from Norway's Miasmah label - a label that has already created a unique and distinctive identity for itself through a string of releases existing in the darker side of the musical spectrum. Bringing together a variety of musicians and composers from around the world, each artist shares a similar aesthetic and a penchant for introspective, lamenting, classically-influenced music. With this in mind, no better home comes to mind for the new album by Poland's Jacaszek - in fact, it could even be argued that 'Treny' typifies the Miasmah 'sound' and encapsulates everything that is so gripping about the label right now.
The opening track, 'Rytm to Niesmiertelnosc I', sets the dimly-lit scene perfectly. A beautifully arranged string quartet and a lonesome female voice are framed with waves of distant underwater rumbles and creaks, with fragments of harp occasionally breaking to surface to release mournful motifs onto the dense musical canvas. It could be argued that the talent that Mr. Jacaszek holds is in his perfect blending of acoustic and electronic sounds, inasmuch that it is hard to tell where tape loops end and forlorn violin melodies begin.
By the beginning of the second piece, the appropriately titled 'Lament', Jacaszek has already firmly established a sound for himself. Clearly influenced by the liturgical compositions of Henryk Gorecki or John Tavener, with a healthy pinch of Angelo Badalamenti's mood-setting soundscapes, Jacaszek manages to find his own niche somewhere between Murcof and Francois Tetaz's indispensible score for 'Wolf Creek' - somewhere dark and mysterious but ultimately beautifully rewarding and moving.
There are traces of optimism in these songs, and as the album ends with 'Rytm to Niesmiertelnosc II', the clouds turn from a heavy grey to a uplifting palette of autumnal shades as a subtle rhythm emerges to gently guide the listener into lighter pastures. Despite the somewhat uplifting ending, as the last note strikes you may find yourself wanting to turn back into the darkness and start the whole adventure again. Wrap up warm, and carry enough supplies for many years of repeated listening...    www.miasmah.com

"We absolutely implore you to check this album out, one of the year's most important releases thus far. ESSENTIAL PURCHASE." www.boomkat.com Michal Jacaszek's 'Treny' is the seventh release from Norway's Miasmah label - a label that has already created a unique and distinctive identity for itself through a string of releases existing in the darker side of the musical spectrum. Bringing together a variety of musicians and composers from around the world, each artist shares a similar aesthetic and a penchant for introspective, lamenting, classically-influenced music. With this in mind, no better home comes to mind for the new album by Poland's Jacaszek - in fact, it could even be argued that 'Treny' typifies the Miasmah 'sound' and encapsulates everything that is so gripping about the label right now. The opening track, 'Rytm to Niesmiertelnosc I', sets the dimly-lit scene perfectly. A beautifully arranged string quartet and a lonesome female voice are framed with waves of distant underwater rumbles and creaks, with fragments of harp occasionally breaking to surface to release mournful motifs onto the dense musical canvas. It could be argued that the talent that Mr. Jacaszek holds is in his perfect blending of acoustic and electronic sounds, inasmuch that it is hard to tell where tape loops end and forlorn violin melodies begin. By the beginning of the second piece, the appropriately titled 'Lament', Jacaszek has already firmly established a sound for himself. Clearly influenced by the liturgical compositions of Henryk Gorecki or John Tavener, with a healthy pinch of Angelo Badalamenti's mood-setting soundscapes, Jacaszek manages to find his own niche somewhere between Murcof and Francois Tetaz's indispensible score for 'Wolf Creek' - somewhere dark and mysterious but ultimately beautifully rewarding and moving. There are traces of optimism in these songs, and as the album ends with 'Rytm to Niesmiertelnosc II', the clouds turn from a heavy grey to a uplifting palette of autumnal shades as a subtle rhythm emerges to gently guide the listener into lighter pastures. Despite the somewhat uplifting ending, as the last note strikes you may find yourself wanting to turn back into the darkness and start the whole adventure again. Wrap up warm, and carry enough supplies for many years of repeated listening...

Abi Bliss The WIRE : „Somewhere deep beneath the junction where classical, electronica and ambient meet, Norwegian label Miasmah has been carving out its own dark and distinctly chilly cavern. As this album from Gdansk based Michal Jacaszek shows, it’s a place filled with foreboding, haunted by the ghosts of chamber orchestras who, misled by electronic manipulations and tape loops, stumble down unexplored passages until only their echoes could be heard. The atmosphere on „Treny” may be less oppressive than that of the ocean floor sepulchres found on labelmate Elegi’s 2007 release „Sisteres”, but both are not so much a collection of distinct tracks as a constant shuffling and revisiting of sonic elements over a slowly unfurling album.

„Rytm to Niesmiertelnosc I” establishes the template, with spliced together atmospherics that suggest sudden air pressure changes or the laboured pumping of machinery. Having previously incorporated poetry and spoken word into pieces, here Jacaszek sets the task of conveying a wordless narrative to Maja Sieminska’s vocals and Stefan Wesolowski’s bold, bittersweet arrangements for violin and cello, punctuated later on by notes picked out dolefully on piano.
With its emotional palette running from sharp, tearing grief to lingering wistful regret via several grey shades of gloom, „Treny” demands more than casual attention if it’s not to drift past unheeded. But moments such as the plucked harp and subtle beats recalling Four Tet’s „Rounds” on „Lament”, a sudden, disconcerting convergence of voices in „Zal” and the way final track „Rytm to Niesmiertelnosc II” chops vocals into peppery, rhythmic snippets all combine to ensure that „Treny” is more than mood music for cave trolls.

Boomkat (UK): „Marsen Jules, Arvo Part, Zbigniew Preisner’s soundtrack work for Krzysztof Kieslowski, Deaf Center, Max Richter, Erik Satie, Alberto Iglesias – if you are familiar and in awe of any or all of these names then this latest album on the exceptional Miasmah label will no doubt end up on your essential listening pile for the foreseeable future. Jacaszek has managed with „Treny” to assemble an album so heart-stoppingly beautiful and personal that we’ve been stunned into silence for its entire 55 minute duration. With string arrangements provided courtesy of Stefan Wesolowski, the foundations of the album are set with Cello and Violin painting fragile outlines coloured by subtle electronic manipulations, harp, piano and reduced, haunting operatic voices. Unlike so many of his contemporaries, Michael Jacaszek doesn’t make use of any samples, with everything on the album assembled by the musicians on hand (notably Maja Sieminska, Anja Smiszek-Wesolowska and Wesolowski and Jacaszek themselves) – and the subtle grandeur of the album is almost impossible to take in over one sitting, even if the impact is absolutely immediate. This is the kind of album that you just cannot believe a bijou imprint like Miasmah is able to lay its hands on – such is the scale of its success that it feels like a hugely important piece of work, far outweighing almost anything else we’ve heard in the modern classical field these last eighteen months. Cinematic without ever feeling contrived, „Treny” is surely one of the most impressive, mystical and astonishing albums of the year – we just cannot imagine that anyone listening to it will fail to be utterly bowled over and taken in – listen to the previews and you’ll get an idea of just what we mean. Deaf Center’s Miasmah label has slowly and carefully assembled a life-changing catalogue of releases designed to enrich and expand our musical horizons, and with „Treny” they have just delivered their most complete and compelling musical statement to date. We absolutely implore you to check this album out, one of the year’s most important releases thus far. ESSENTIAL PURCHASE.”

TEXTURA (Canada): „One of the key reasons why Michal Jacaszek’s Treny impresses as such a hauntingly beautiful collection is that the Polish producer eschewed samples entirely in the creation of the album’s material and instead exploited to the fullest degree the artistic gifts of three guests— violinist Stefan Wesolowski, cellist Ania Smiszek-Wesolowska, and singer Maja Sieminska—all of whom make pivotal contributions to Jacaszek’s work. Listening to his chamber-electronic lamentations, obvious names from the electronic and classical fields spring to mind—Max Richter, Marsen Jules, Murcof, Arvo Part, Henryk Gorecki, Giya Kancheli—yet Jacaszek manages to create something that feels unique. Deploying a limited but powerful set of sonic elements is one way of accomplishing that, and, by repeatedly spotlighting the mournful cry of Wesolowski’s violin and haunted wordless vocalizing of Sieminska, Jacaszek does exactly that. The tastefully implemented electronic contributions that help solidify the sonic mass into hypnotic webs are more often than not subliminally rather than overtly present and rarely draw excessive attention to themselves (the exception to the rule, “Powoli” places vaporous streams front and center alongside the funereal percussive treatments that creep unsettlingly into position). The music itself is simultaneously elegiac and ponderous but communicates with powerful emotive force when elemental themes voiced by piano, strings, and vocals loop over and over, thereby intensifying their entrancing effect. Another reason why Treny makes such a powerful impression is the strength of its melodic dimension. Don’t let the material’s relentlessly gloomy ambiance fool you: a remarkable piece like “Taniec” is packed with memorable motifs and melodies—the groaning cello figure, the anguished moan of the voice that drifts through the foreboding atmosphere Jacaszek sculpts with his subtle manipulations, and the glacial lull of its stop-start tempo (note the hiccupping pause at the end of every eighth bar which is punctuated by a single piano chord). Every piece distinguishes itself in like manner as an arresting confluence of sounds and motifs: the layered counterpoint of Sieminska’s voice in “Walc”; the slow, stately, and (rather uncharacteristically of the album) steady unfurl of “Martwa Cisza”; the delicate harp lattices that grace “Lament”; and, perhaps most startlingly, the skewed samba feel that imbues this special album’s closing track, “Rytm To Niesmiertelnosc II,” with unexpected uplift.”

Ned Raggett, All Music Guide (USA): „A casual glance at the brooding and beautiful cover art of Treny might lead to the assumption that it’s either an elegant goth/folk construction or a post-black metal valentine (or both). As it happens that’s probably not too far off a description in any event, since Jacaszek’s delicate string arrangements and keening vocals set in counterpoint to the compressed rushes of electronic swells and sighs — almost like a computer with stuttering breathing — are aiming at a new kind of fusion with well established roots. If acts like In the Nursery have long established possibilities of combining classical instrumentation with electronic experimentation, Jacaszek seeks to send things further forward, with songs as prone to murky glitch cutups and reverses as they are the kind of mournful passion that could have made this a release on Projekt or Cold Meat Industries as much as Miasmah, the Norwegian label that does the honors here. Maja Sieminska’s seemingly wordless singing demonstrates her abilities at following in the footsteps of Lisa Gerrard well, while Stefan Wesolowski, who handles the actual string arrangements, and Ania Smiszek-Wesolowska acquit themselves very well on violin and cello respectively, a team playing in moody counterpoint song for song. Michal Jacaszek himself puts it all together with his unsettling rhythms and production, with touches like the water-drop echo on „Zal”.”

  

Sequel   soundcloud.com/jacaszek/sets/sequel


SEQUEL is a song album by Jacaszek and Miłka Malzahn – poet and singer. This is a kind of „singing poetry” where poetic text  exists together with modern  electronic music. It could be named a „poetic electronic swing” , but this of course is too simple description.  SEQUEL is a music story of lost, broken or unfinished love, of feelengs, images, and dreams .
  

LO-FI STORIES (2009)

soundcloud.com/jacaszek/sets/lo-fi-stories

LO-Fi STORIES Gustaff Records 2009
Michał Jacaszek – compositions, production.

LO-Fi Stories is Jacaszek’s debute album.An inspiration for this project comes from Jacaszek’s fascination for old polish fairy-tales, recorded in a radio-play style, which were very popular in Poland till late 80ties. On Lo-Fi Stories you can find samples from those fairy-tales, that were recorded on vinyls. Album was prestented live with Ania Łopuska (flutes), Hubert Połoniewicz (clarinet), Mariusz Nejman (countrabass) i Dj TomAlla (gramophones).