"Rurokura and the Final Warn"
emd.pl/records/004 - released on January 27th 2006.
1. The Initial Speech
Robert Piotrowicz: analog synthesizer, electroacoustic devices
Recorded Sepember 2004. Mastered by Werner Dafeldecker and Robert Piotrowicz. This release is a result of cooperation of emd.pl/records and Dobosz Records. Honors to Artur Nowak, Tomek Krakowiak and Werner Dafeldecker. Design by Michal Kopaniszyn. Honors to the Only Head. Blessed Dr. Jelito.
Robert Piotrowicz is a leading figure on polish noise and free-improv scene, being an active experimentalist for the last 10 years and co-founder of Musica Genera label and festival. He switched from electric guitar to analog synthesizer, and finally combined both instruments in an electro-acoustical system. This is his first solo release, following recordings with Stuckonceiling, "Can't Illumination", an album with Anna Zaradny / Burkhard Stangl, and two CDR releases by Polycephal and Phase! Records. Robert has played live with most of today's leading improvisers, most extensively with John Butcher, Kevin Drumm, Xavier Charles, Jérôme Noetinger and Zbigniew Karkowski.
This album is a crossover of Robert's experience as improviser and power-noise artist. It's a balance between physical, intense, lacerating sound and self-restraint, space, interval and prudence. It may cause anxiety and feeling of oppression, but then again that's his personal manifesto. Cataclysmic pulse of low frequency oscillator will blend with the beat of your heart and make you out-of-breath. The human voices, captured from a radio and processed via analog electronics, although not verbal, will speak to your subconscious and tell you things you'd rather not hear. A remarkable exhibit of an original artist.
Mimaroglu Music Sales Excellent disc of synth-destruction from this polish improvisor / composer, affiliated with the Musica Genera label, collaborator with Burkhard Stangl and Xavier Charles. Fans of Kevin Drumm's output will want to perk up and take notice...
The Sound Projector [...]: A totally excellent burst of dynamite noise-blasting in the electro-acoustic "art" mode! In four tracks and 33 minutes, Piotrowicz does indeed deliver a grim "warn" - an apocalyptic narrative laced with urban paranoia, fear and hate. The opening cut depicts a huge crowd of panicked citizens, all shouting in fear and confusion. They struggle to be heard among a cloud of electronic noise, the "humanity" of their voices leeched away by Piotrowicz's cruel processes. For the remainder of record, those troubled voices drop away, to be replaced by short and powerful episodes of pure, throbbing, intense noise chugs. Plenty of dynamics, textures, ideas, and development - but it never forgets to be relentless. The cataclysm hinted at during the opening moments is slowly spreading across the globe. The last track depicts total devastation - a day of heavy bombardment and explosions. Stern, grim and brilliant music; some clues and hints in the track titles too, suggestive of dystopian futures and a paranoid thriller story, presented in short film-like episodes. A treatise on nuclear war or chemical gas death or a howitzer blast in the face.
Packaged by the turbo-sociologist Michal Kopaniszyn in a fab clear-vinyl wallet printed with blood-red streaks and gashes, this release is a total must-have item! Who is Rurokura? When will the Final Warn arrive? And if it does, will we take heed?
Ed Pinsent 23/07/2006
artPapier [...] It's a record for people who look for something new. And of course for those, who know who Kevin Drum or Masami Akita are, this is an obligatory album. It's impossible not to mention the editorial side of this release. The surprising CD packaging made from flexible plastic was designed by Michal Kopaniszyn. With no doubt, it's the most impressive and original album cover in the history of polish phonography. Strong graphics with overdone atributes of aggresive music (blood, gothic lettering) tease the expectations of fans of such generes. The album consists of four pieces, a little bit over 30 minutes. It is not long, but just right. Robert always has perfect sense of time, distinct structure and addictive narration. Every piece has it's own story and point. This is very valuable and rare quality of noise music, which restrains from rhythm, melody and harmony. The last piece is slightly different, it's the only one with "trans" repetition of a pattern, which is gradually growing towards climax, which never happens. The unity of powerful sound and human voices, which could be compared with a dark mantra, recall a primitive ritual, a mysterious ceremony. Ceremony of an ancient cult. The cult of noise.