Rudz, Przemyslaw

Artist: Komendarek + Rudz
P: 2011
One doesn't have to introduce either the el-hero Wladyslaw Komendarek or the artist Przemyslaw Rudz to the fans of good electronic music. This time we can admire a conjoint of both musicians. Already the title of the work itself announces something very special indeed - well, let's see, what unexplored secrets does the REM phase of sleep hide... What were dealing with here is a very explicit content, a daring odyssey full of daring associations. This music could be defined as "sophisticated electronic rock", but mind you, there are also a lot of passages in an early Vangelis experimental electro-jazz style and even avant-garde explorations sounding as if they were taken from some dusty electronic trail recorded by Alex Smoke or Peter Benisch.

Artist: Mikolaj Hertel + Przemyslaw Rudz
P: 2015
Seven beautiful compositions for sensitive listeners from every corner of the globe. Mikołaj Hertel - legendary Polish EM composer opened the depths of his so far unpublished electronic legacy.
After very fruitful collaborations with Władysław Komendarek, Krzysztof Duda and Józef Skrzek, now it's time to build another artistic intergenerational bridge. Seven beautiful compositions for sensitive listeners from every corner of the globe. Mikołaj Hertel - legendary Polish EM composer opened the depths of his so far unpublished electronic legacy and give it to Przemysław Rudź for a contemporary arrangement. This resulted in a creative mix of modern sounding and romantically expressed combination of Hertel's melodies and Rudź's progressive harmonies, rhytms and imaginative solos. All the tracks have been heavily rearranged in comparison to their original form, to give them even more pronounced stigma of both artists. At The Horizon's Edge is a proof that the Polish school of electronic music still has a lot to say. The album ends with a brief impression reminding Edgar Froese, the founder of Tangerine Dream, who suddenly passed away 20 January 2015. The whole album is dedicated to his memory.

Artist: Josef Skrzek + Przemyslaw Rudz
P: 2014
Imagine that you get in the balloon and start floating slowly, getting higher and higher. Our target is the stratosphere, where we can see the roundness of the Earth, and a real black starry sky above us. This is where intermingle two environments - the Earth's atmosphere and the cold, silent and almost inaccessible space. The music on the album is the musical illustration of the expedition to the border of two diffrent worlds. Moments of calm and melancholy change here in strong accents when our balloon is torn by a turbulent jet stream. When we get to the destination music will soothe us once again with calm chords in a familiar style we already heard somewhere. Music by Józef Skrzek and Przemysław Rudź combines also the two musical worlds. Józef Skrzek, the legend of progressive rock, the leader of the famous rock group SBB, who with his inseparable Minimoog also brought a lot to the Polish electronic music. Przemysław Rudź, composer of the younger generation, the successor and continuer of the Greats on el-music scene. The possibility of artistic cooperation with such respectable personage inspired him to compose the suite addressed to demanding and sensitive listeners. The stratospheric music. The Stratomusica Suite!
 

Artist: Przemyslaw Rudz
P: 2014
Many musicians started their adventure with sounds joining amateur bands, mostly when they were yet teenagers. Young Przemysław Rudź and his school friends loved progressive rock so much and listened to it with passion spending long hours among the albums of Yes, Genesis, King Crimson, Jethro Tull, Marillion and others. In 1993 they formed the band playing this kind of music. The next three years of the band's activity were a time of gaining experience and learning more about the basics of music - chords, melody, rythm and harmony. Those happy days are gone, but the musician realized that the songs he composed years ago still appear in his head. So he decided to remind himself and refresh even a small part of the harmonies and melodies to save them from complete oblivion. Obviously the music is strongly rearranged in comparison to its original but slightly archaic form. The composer made it by mixing themes and motifs looking for the best combinations. Finally, the music reconstructed in this way occupies more than half the duration of the album (tracks 1 & 4). The rest of the material is completely new music that Przemysław Rudź composed over the past two years. The artist hopes that this sentimental journey to the days of his youth will present you an unpretentious achievement of the band called THE LABYRINTH. As he said: "There wouldn't be an "artistic me" without being a member of this group...".

Artist: Przemyslaw Rudz
P: 2011
The whole adventure starts off on a vast airport on a beautiful sunny day. What we are hearing is one column of a chord - and still there is so much happening around: some thoughts take off, some other are landing... Everything is subtly muted with a flanger-deck, sunshine is every now and then blended with clouds - memories intermingle with reality, and then a giant airplane arrives and moves through the heathaze. Around 7:00 there appears a punctuated sequence, somewhere in the background there is still plenty of moving thoughts and memories. In the ninth minute some voice and laughter samples are added into the mix and the lead synth sounds a bit like on Vangelis records from the early seventies. With the 12. minute the music fades out.The second track is a suite of over 20 minutes. Some mystical silent sounds are to be heard: bells, subtle rattling, followed by a whole bunch of electronic flashings and tiny flickering lights. The patterns become more complex, the whole piece of music has new boundaries and new shapes. Around 3:00 new chords are introduced, floating about in the rattling musical stream. Very good meditation music indeed; stagnative yet ceaselessly changing. After the first five minutes the proportions have changed, the chords are now louder than the colourful pattern stream. Before we arrive at 7:00 the "stream" becomes silent and gigantic chord cloudscapes are left alone on stage. A leading melody is formed, quite in the Oxygene mood, especially when the chords get itched with icy needles coming from behind the clouds. Later there appears a percussion line, the ostinato melody changes, and in the 17. minute of the track we can witness the birth of a human child? a cyborg? a fairy? yet another creature?Track three brings static chords, once again under a flanger-deck, and some aerodynamic floatations. The wall of sound is every now and then loaded with a sitar-like hiss - East meets West. The atmosphere is conjured up with quite few sound levels, once again we have to admit that Rudź has really brilliant ideas how to create fascinating sounds. Thanks to the overall guitar softness and slightly oriental taste this piece of music reminds me of Popol Vuh's "Aguirre", nonetheless served in a very special, individual way. The sound spins in a psychedelic circle, we are quite near to spacey moods ? la Move D vs. Namlook... It's a pity that after seven minutes the music is suddenly gone.Track four is opened with static humming of an electronic choir, once again one has to think about Popol Vuh and their "Aguirre" - there's plenty of room, the fresh scent of vast meadows is really tempting. At about 5:00 gentle piano sounds can be heard, with a crystal touch ? la Detlef Keller's "The Story of the Clouds" to it. On the other hand, one might associate the mood of this track with the most melodic passages of Klaus Schulze's "Esoteric Goody". A thoughtful solo gets onto the gigantic choral tree. In the 14. minute crows soar above our heads - could it be a reminiscence of Pink Floyd's "Echoes"?... The crystal-clear song of the piano sounds fantastic with the apeironic vibrating meadow choir as a background - well, without any doubt it is my favourite piece in the whole set. And there is still more to it - as soon as we think, that the time is up and the track comes to an end, some nice bass thuds are added and as if from a long forgotten cave there appear waves of sequential smoke. Unfortunately, as we are waiting for yet another movement, yet another change, the music suddenly is gone, the track fades out into the last piece of the album. This one is rather lively, thanks to a percussion line and a rhythmically trembling melody - a nice crossover try between traditional electronica, elpop and electro. Quite in Spyra's mood - Rudź confronts us with his own vision in a similar style. Nice sighing chords wander around, and on top of that a lecture on Stephen Hawking's physics is to be heard. Oxygene-like cloudscapes recur... We cannot believe that we are still in the same world, in which we pushed the "play"-button, and not in a parallel universe created by the artist. Congratulations, Przemysław Rudź, it's your best album so far!

Artist: Przemyslaw Rudz
P: 2010
This is already the second Przemyslaw Rudz's release. - a 70 minute portion of pretty good sequential electronica and ambitious elpop synthesis. On this record, you may find moods corresponding to music made by Under The Dome, AirSculpture and Jean-Michel Jarre or Vangelis as well. The opener is a 8 minute long synthesis of funky glittering sounds a la "Stuntman" by Edgar Froese and Manikin Records- or Neu Harmony-like groove fantasies. The first "true hit" is the second piece, the shortest one on the CD, in which Rudz continues the tradition he explored on his earlier successful Generator-CD. What we are dealing here with is, first of all, a catchy melody and a rocky rhythm-pattern in the background; the whole sounds as if it were arranged and played by some early Marek Bilinski, who is in the mood for "The Other Side of the World" - here they are, these wonderful "jarre`ing" sounds and thick clouds of melancholic chords, so sunny and yet so icy at the same time indeed. The third impression grows up on the field of abstract noises and washes, then there appears a dynamic, fluorescent ostinato-percussive line; you may dream away for some 14 minutes and then the piece is suddenly over. The main dish is beyond any doubt the track no. 4 with its 20+ minutes; Rudz is playing with traditional sequential patterns a la Manuel Goettsching, his furious polyphonic impression could fit very well in the most dynamic sections of the film "Koyaanisqatsi". Track 5 is the most quiet and reflexive one in the whole set; you may enjoy some warm piano sounds intermingling with an environmental rain-soundtrack and occasionally recurring thunderstorm voices. Rudz conjures up an atmospheric track a la Detlef Keller`s "The Story of the Clouds", well, you may also think about Marek Bilinski`s "Reflections" for a while. The last composition is an optimistic, upbeat piece somewhat resembling Tangerine Dream`s "Melrose" sessions; first of all, there is this very guitar-solo and a nice touch of polyphonic sequencing in the background. All in all, "Cosmological Tales" is a very interesting album, consisting of classic, modern and daring electronica. One should really pay attention to very professional multi-track arrangements. Have a nice cosmic trip... round and round, again and again...

Artist: Przemyslaw Rudz
P: 2013
This Berlin School style music develops through the use of guitar and drums till a kind of Pink Floyd style in the end.
 

Artist: Przemyslaw Rudz
P: 2015
Versatile electronic music tracks, rhythmic, melodic and sometimes crazy.

Artist: Przemyslaw Rudz
P: 2016
Let Them Float is full of air and space, sometimes minimalistic, containing only the most essential elements of the arrangement. Two longest compositions, opening and closing the album, develop lazily turning a listener into a state of trance.

Artist: Przemyslaw Rudz
P: 2018
Rudź with his searching for a part of the common of electronics and progressive rock, this time in an energetic and sometimes pathetic form. The title suite, multi-layered and epic, refers to many similarly formally constructed works by Rudź, in which, as in the mirror, reflects his fascination with unconventional music, that is original and requiring the listener to submit himself entirely to the composer's narration. In return, we get a ticket to explore fantastic worlds, where analogue sounds, synthesizer passages, pastel landscapes and expressive solo performances create another important achievement of the Polish school of classical electronic music. Big recommendation!