Bass, Vocals – Jan Rutka
Cover, Layout – Maciej Kamuda
Created By – Spaceslug
Drums, Vocals – Kamil Ziółkowski
Guitar, Vocals, Synth – Bartosz Janik
Mixed By, Mastered By – Haldor Grunberg
Recorded By – Piotr Grzegorowski

AD 93 is proud to present the new album from Polish composer Wojciech Rusin, due for release on the 4th February 2022. Syphon is the second instalment of an ‘alchemical’ trilogy which started with The Funnel on Akashik records.
The record consists of speculative medieval and renaissance music, imagined composed in the future, where it is reconstructed from the ashes of the past, via incomplete fragments.
"In a future where the old semantic systems don’t apply anymore, what we are left with is some kind of delirium."
The album features 3D printed instruments, multilayered bagpipe chanters, double recorders and other hybrids.
With additional voices of soprano Eden Girma and Emmy Broughton.

Trzy utwory,
Dwanaście cali,
Szósty miesiąc,
Dwudziesty drugi rok.
Intuicja.

Polish composer Aleksandra Słyż joins Warm Winters Ltd. with A Vibrant Touch, her second full-length album. While her debut Human Glory released by Pointless Geometry explored two distinct approaches and techniques, here she finds her unique path forward: finding connections between acoustic and synthetic sounds, creating rich drone structures, slowly but intensely pulsing and resonating within the surrounding space and within each listener.
“I am very much fascinated by the processes related to the body sensations experienced through sound and its movement. I have always perceived sound as a physical phenomenon, travelling as waves of energy, as vibrations which we can literally feel and physically experience,” she shares. “Therefore, from the very beginning I wanted to use recordings of specific acoustic instruments, which in my opinion beautifully represent the motion itself.” Joining Słyż and her modular synthesizer on A Vibrant Touch is a quartet of musicians playing violin (Kosma Műller), viola (Kamil Babka), cello (Anna Szmatoła) and alto saxophone (Marcus Wärnheim).
The three pieces on the album explore the physicality of sound of these instruments – like the way a finger or bow presses down on the string of a cello, or the air pressure in the saxophone... when someone blows inside it – as they intertwine with expert navigation of modular synthesizers by Słyż. Drawing on the work of 20th century spectral composers like Grisey or Scelsi, just intonation, drone music and microtonality for inspiration, the Polish composer uses dissonance, tension and pulse with incredible grace and power.
She opens the proceedings with the patient, gliding and stirring piece “Healing”. “The Ruthless Act” is slightly more ominous and grainy, as the cello and modular synthesizer mimic each other's movements to disorienting effect. The final piece “Softness, Flashes, Floating Rage” is a monumental composition lasting almost 26 minutes, a crowning jewel of the album. Słyż and the instrumentalists are exceedingly patient as the piece slowly unravels into a brutal, heart- and ear-shattering climax. It's a testament to her compositional prowess, that a piece of this length is imbued with so much weight and elegance.
??? ???? ???? ?? ??????? ?? ??? ??????? ??????,
????? ?????? ??????? ??????? ??? ?????? ???????’? ?????????? ???.
? ??????? ???? ?????? ??? ????? ?? ?????,
??? ??? ????-????? ????? ???? ??????? ??.
???? ? ?????’? ????? ?? ? ??????? ?????,
? ??????? ??????? ??? ???? ??????? ??? ????? ??????
??? ??? ??? ???? ?????? ???? ?? ?? ??????.
~~~
Aleksandra Słyż is a Polish composer, sound designer and sound engineer currently moving between Stockholm, Sweden and Poznań, Poland. She has soundtracked and created sound design for multiple films, worked on various installations, and composed music for different ensembles. She has performed at many experimental music festivals, including Unsound Festival (Krakow), Ephemera Festival (Warsaw), Avant Art Festival (Wroclaw), Between Festival (Stockholm), Idealistic Festival (Copenhagen), Kiev Music Fest (Kiev), Open Source Art Festival (Sopot), Sanaatorium of Sound (Sokolowsko), UNG Nordisk Musik Festival (Pitea) and others.

The concept of the record refers to the tragic events that have been taking place in Ukraine, and the title represents my personal stance on this matter. The record was created at the turn of 2021 and 2022. The individual pieces were composed in several places across Poland, as – due to the lack of a permanent residence – I spent over a year travelling around the country.
The events in Ukraine, as well as the circumstances I was confronted with in my personal life, undoubtedly had a strong influence on the character of the compositions that comprise the record.
- Bartosz Dziadosz
BARTOSZ DZIADOSZ is also known as PLEQ. This is his first solo work under his own name.

Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland’s current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light and Shall Not Fade –with whom he released his acclaimed debut album in 2020–.
His Lapsus release 'Closer Now', takes a different trajectory to his previous album 'The Sensual World' [Shall Not Fade, 2022], fundamentally an energetic and high tempo club record. In contrast, 'Closer Now' focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor.
‘Closer Now' is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.

The Polish composer’s sumptuous new album draws on Renaissance-era vocal music, contemporary theater, and the uncanny magic of Auto-Tune.

In diaphanous compositions like color field paintings, this full-band ambient album conveys relaxation, whimsy, and a vague sense of dread.

Recorded during long and solitary days spent in Turku, Finland, Diaries Beneath Fragile Glass is a record of time that alternately crystallizes and liquefies, much like the nature of water itself. Delicate sheets of puddles, rushing streams dappled with sunlight and the gentle creaking of what remains frozen mark the slow rhythm of days that become difficult to distinguish from one another. Merging with the cold wind that mercilessly penetrates the bowels is an experience of both resistance and the ultimate agreement to become one with the body of nature and speak with a common voice. The result is an aura formed from detuned zither and otherworldly voices that is crystalline, sparkling and crisp, only to be abruptly broken by glass shattering into fine dust. Guitar sounds lighten the scenery, melding with faint vocalizations that eventually become an echo in dialogue with a swirling stream of water.
Music by Martyna Basta
Mastered by Adam Badí Donoval
Artwork by Katarzyna Najdek
Supported by HEM
Thanks to Titanik Gallery