Komendarek, Wladyslaw

Artist: Wladyslaw Komendarek
P: 2012 / 2016
The style of the tracks is very different. There is no line to say which style is the most, but we find fast and slow tracks and a very uncommon instrumentation from this polish musician. If you like to find new styles, this is the right one.

Artist: Wladyslaw Komendarek
P: 2015
Shaman of the classical electronic music, a loner and visionary going in spite of mass production, one of the best live el-music performers of his time. Władysław "Gudonis" Komendarek comes to Generator with his retrospective album showing selected and never published compositions from 80-90s. Dreamy, ambient and anxious atmosphere of the Universe's vastness is mixed with the sequential order and crazy soloing performed by this excellent instrumentalist. All is full of fast played passages and also tender romantic melodies. These pieces herald a new Komendarek who at some point in his career breaks up with his well known post-progressive past and focuses on searching for new sounds, penetrating most species from the classical music, through techno to free jazz improvisations. Generator chose five best tracks from Gudonis' archives which are a must-have for fans of EM. Additionaly this is a pure joy that over 70 minutes of great music have been saved from the oblivion.

Artist: Wladyslaw Komendarek
P: 2018
Three cosmic expeditions of the master of synthesizers, recorded in the 1980s during concerts at the Rock Musicians Festival in Jarocin. Complex, conceptual suites about visitors from another planet performed by ... another visitor from another planet. In 1985-86 Władysław Komendarek performed twice at the legendary festival in Jarocin. His night concerts were well received by fans of completely different music genres. Both performances - realized in the form of extended suites lasting over 20 minutes - were recorded and in 1992 they were included on the cassette tape Return of Interstellar Matter. Now this release is back in an extended format, with recordings made in Jarocin in 1988. The whole thing was remastered from tapes from the artist's private archive. The booklet did not lack colorful memories about trips to Jarocin and unique photos.

Here the last copy!

Artist: Wladyslaw Komendarek
P: 1988 / 2023
He played Synthesizer [Casio CZ-5000], Synthesizer [Casio FZ-1], Drum Machine [Yamaha RX-11], Effects [Yamaha SPX-90], Synthesizer [Roland SH-101], Synthesizer [Roland System 100 Model 101], Synthesizer [Roland System 100 Model 102], Effects [Boss DE-200 Digital Delay].
A real gem of its time back then!

Artist: Wladyslaw Komendarek
P: 2011
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.