Wladyslaw Komendarek - Przestrzenie Przeszłości

The famous Gudonis, because Komendarek has been performing under this pseudonym for a long time, is a versatile musician. And this is also the picture of him shown by the double-disc publishing, Spaces of the Past. The compilation begins with the Concerto 2 op. And it is this piece that shows that Komendarek is able to move freely within classical music, he can tame electronic sound modules and efficiently operate moogi, manually controlling the pitch. Over the years, the fashions in the world of electronic music have changed, the priorities of companies producing instruments have changed and the work of Komendarek has changed. You can certainly hear echoes of Jean Michael Jarre's recordings. But who doesn't use samples today? After all, the success of Enigma is the success of working in the studio on the assembly of tracks, rather than the efficiency of the fingers. But, for example, such a Colonization of time - practically devoid of rhythm, almost coexisting with the Cosmos, is still universal. And the Atomic clock? This is how it was composed several dozen years ago with the wrap, when the first sequencers to facilitate the multi-key game appeared. Because you have to remember that we are enjoying the compilation and traveling to the past is inevitable. Once Emerson, Lake & Palmer, and then Komendarek used Pictures from Mussorgsky's exhibition. Its version of the promenade does not have the power of a rock supergroup, it is rather playing with instruments. Compositions - musical landscapes - defend themselves better. The parable of the muses (B) resembles Michel Cretu from Enigma, but defends itself against the passage of time, which cannot be said about the Syndrome of Civilization. But that's the way it is with electronics - it gets old before we wear it out. Komendarek does not shy away from experimenting with any aesthetics of El-music. In the piece, Vietnam mixes pseudo-ethno with elements of break beat. And rightly so - the artist has the right to do whatever is playing in his soul. Similarly, Lot No. 19. The pulsating rhythms are reminiscent of what could have excited us more than a decade ago, but the sensation is killed by irritating sounds. Of course - not for everyone. Sometimes you get the impression that Komendarek works better in more epic compositions. Reincarnation No. 10 can draw attention more than the assumed trifles. The outlines of the figure, somewhat reminiscent of Mike Oldfield, still sound similarly interesting, although the inclusion of the question Is anybody out there smacks of a bit of kitsch. Just like the title Secret Center of Combat Gas. The two-disc release ends with the Banana Republic.