Rudz, Przemyslaw

Artist: Krzysztof Duda + Przemyslaw Rudz + Robert Kanaan
P: 2017
The three polish electronic musicians work together here.

Artist: Krzysztof Duda + Przemyslaw Rudz
P: 2013
The album composed and recorded together with famous Polish synthetist, Hammond organ virtuoso and my good friend - Krzysztof Duda.
"Four Incarnations " is a conceptual album that musically describes the life cycle of an insect from embryo through larva, pupa to imago.
This can be interpreted literally but also as an allegory of the human path through life - full of twists, transformations, stages and challenges from youth to old age.
The music on the album is a combination of modern electronics represented by species such as dark ambient, Berlin School sequences, jazz rock and progressive rock.
We can hear here electronic backgrounds and melodies painted by Rudz', and Duda's organ and minimoog passages.
In one of the compositions there is a guest Rafal Szydrowski, who recorded and sent his guitar track from distant Ireland.
The album is completed with a bonus track that is so far unreleased moody Duda's suite (from 90's of XXth century).
It has been refreshed and enriched by Rudz''s characteristic harmonies and melodies.

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 Mikołaj Hertel - legendary Polish EM composer opened the depths of his so far unpublished electronic legacy.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! 

Artist: Przemyslaw Rudz
P: 2016
Very nice played Berlin School sequences and rhythms.  With a lot of Moog solos.

Artist: Przemyslaw Rudz
P: 2012
The opener is an abstract melange of civilisation noises. This sombre introduction kind of reminded me of newer Depeche Mode music, so I put my ear nearer to the speaker - the next DM-association was the title of the CD itself, Pain/tings: Are we dealing here with "pain and suffering in various tempos", as it said on Playing The Angel by Martin Gore & Co.? This intro is already four minutes long, in just a second there might appear a warmer note, a familiar harmony... And still we are drifting forwards in complete darkness. Przemysław Rudź scores here big points, in my opinion - this is really a fascinating opening theme.
And there it goes, at about the 5. minute mark, a majestic chord a'la Klaus Schulze's winter landscapes! This icy impression is still quite murky and sombre, but now it is rather a Berlin "pre-ambient" impression than an abstract click-ambient sculpture. Rudź keeps on painting his sombre icy mirages almost 25 minutes long - this moving piece of music is a reminder of the electronic past and a "brave new sequence" at the same time.
The second track has a similar atmosphere from the very beginning; however, here the ice surfaces seem to begin to break down, so that one can see the dim outlines of the composition to a greater extent than in the case of the former track. Still, the music lurks in shades of lead-grey clouds passing over the sad skies. At about the 5' mark one could almost see the first signs of azure blue presence, nevertheless the dangerous metallic wind is howling every now and then somewhere near the listener. Until the very end of the track there will be no beats nor sequences at all, but there still will be yet even more room to fit in...
Track three is an interlude of a kind; Rudź sketches here a quite outlined melody, but still there is no sun at all to be seen - a polished ice button, at the very most... The amazing composition #4 is bathed in black liquid tones as if there suddenly was sound to the darkest pain/tings by El Greco. It's the most rhythmic movement so far, but, needless to say, the pace is quite slow and the rhythm patterns are tracked-down, thoughtful, introvert. What a wonderful mood - reminds me a lot of Wolfram Spyra's Hush Hour! The fifth impression is yet another short interlude; on the one hand we have pretty liquid chord structures here, and there is at long last a ray of sunlight to be seen, on the other hand the drops of abstract sequential line are freezing instantly and lead our attention away from the more optimistic voices...
The final track with its 17 minutes is a moving electronic dream, with subtle solos in the old style once in a while... but in general there is once more a great amount of darkness and abstract iciness to it. Then something unexpected happens. At about the tenth-minute mark there appears a quick-paced sequence, and all the icebergs burst at last with loud thugs and crashes. With the 12. minute the drums join in, and then a whole bunch of Tangerine Dream -like colours explodes and lights up the white horizon with a liquid red afterglow. That's what I call a powerful coda of a moving record! And 75 minutes have already passed? Good to have this CD at one's disposal, so that one can explore the regions Klaus Schulze told us about in 1977 over and over, which I highly recommend.

Igor Wróblewski

Artist: Przemyslaw Rudz
P: 2010
Przemyslaw Rudz has as usual done a good job of taking the listener on a surprising journey. On this journey one has an impression that the music does not ooze from the speakers, but comes from within the listener, perfectly accompanying his thoughts and feelings. As far as the musical style is concerned, we have plenty of moods here, each track introduces the listener in an entirely different story and conjures up an entirely different atmosphere. Still, tracks one to five seem to be a mere overture to the opus magnum, a 24-minute long odyssey, in which Rudz mixes fairytale-ambience a la Kitaro, sequential electronica and eclectic sounds reminding of the best Neu Harmony label productions. Sunny side up – welcome to the bright side of piano lounge, open the window immediately, breathe in these slightly tangerine notes (soon there appear some subtle autumn electronics in the background). After such an introduction, track two, a 13-minute long journey through firing cells and moaning electronic choir-tunnels is quite a surprise indeed. Still, the classic electronica touch is present here, mainly in the second part of this piece. This composition is an amazing abstract illustration, which every listener may interpret in his own special way. As soon as track three slides in, get ready to greet – or fight – loud cyberinvaders, who definitely enjoy good melodies (this track reminds me of Mike Oldfield or... Laser Dance, but mind you, I mean it in a positive sense). After this short interlude we change the overall mood once more. This time we can surf on lounge-pop waves towards the horizon of amassed snowy clouds and electrifying keyboard solos. It's quite a thrill for all those of you, who like the typical sound of the Neu Harmony label and its eclectic conjoint of sequential tradition and 'lite electronica': this track has its charm and groove, and that's why I'd like to dub it the 'greatest hit' featured on this CD. What we are dealing with here, is ambitious music, so it's no wonder that our 'hit' is ca. 10 minutes long... Still, my favourite moment so far is this splendid introduction to track five, built over an unbelievably catchy tune, which sounds as if it were played on 'electronic lute'. The music gets faster and louder, the whole turns out to be a pretty cool sample of 'electronic rock according to Przemyslaw Rudz'. The lute-motiv comes back, this time it sounds yet fuller and sappier, probably because of the additional percussive workout accompanying it. And yet another surprise – the most powerful keyboard solo of the album! Nevertheless, it seems that all these tracks are an overture to the opus magnum, a 24-minute long odyssey, in which Rudz mixes fairytale-ambience a la Kitaro, sequential electronica and eclectic sounds reminding of Asana's „Shrine“. On top of it – famous words by Neil Armstrong. The last track is a nice walk along the edge of a beach, you can hear birds soaring, and due to Rudz's synthesizers, the setting sun calming the afternoon water.

Artist: Przemyslaw Rudz
P: 2010
The album begins with soft ambient washes, somewhat resembling the spacey moods conjured up by P. Namlook and T. Inoue throughout the "Shades of Orion"-series; soon, however, the music drifts in the direction of sequential patterns a la Jean-Michel Jarre, whose music was one of the most important sources of inspiration for Przemyslaw Rudz. In such a way, the introduction is a cross-over piece between chillout-lounge and rich textured sequential elpop.
The next piece is an interesting combination of two different moods: There are, on the one hand, recurring, Jarre-like, icy chord-waves, and ,on the other hand, nice rhythmic patterns a bit like good old (about 1985) Marek Bilinski stuff.
In the third piece there have remained only fat clouds of spinning chords, lively beats are there no more; hark, there it comes, endless serene Blue oozing out of the speakers... Still, quite soon a catchy ostinato in some low key lurks in, and the whole scene turns immediately into a haunting mood in the style of Tangerine Dream`s "Thief" soundtrack... The main sequencer joins in and so we are ready to greet the fourth track, sheer ostinato-battlefield with pumping sequences and gloomy chords raining cats and dogs in the background... Indeed, we are not far away from amazing dynamics of Tangerine Dream`s "Horizon"-suite (1984).
Number five (so far my favorite one in the whole set) is an ingenuous conjoint of subtle ambient "nature sounds" and the grooviness of a programmed percussion-line, which is very upbeat but... with no single beat uttered, just mere whooshes of "electronic cymbals"! This fine arrangement makes it clear, that there is a whole lot of amassed energy, somehow never to be let out of the bag, though. This track reminds me of both parts of "Xangadix" by Pino & Wildjamin; the Listener may take a walk across the rusty, sepia meadow, as if taken from some long forgotten photograph, and still so lively and sappy... be careful where you tread, watch this whole lot of cyber insects fooling around amidst the wire blades of grass...
The next piece consists of several contrasted parts; in the beginning, there resonate some ambient chords in a major key, then we have a nice foggy passage leading to a groovy, programmed coda, yet another fine combination of lounge music and solid elpop with a slight IDM touch to it.
The seventh track brings some great sequencer-driven pads in fruity colors... This is a nice background for free falling "fainting" sounds of the lead synth solo. This track merges with the final piece of the album, some of the previously introduced tunes get continued, but the whole track gets a bit quieter and, so to speak, a bit more spacey. The main attraction is a very fine solo tune (as if played on the legendary PPG Wave or yet more legendary Theremin), slyly balancing between sunny relax and minor (slightly chromatic) doubts...
All in all, "Summa Technologiae" is a multi-colored album, a good portion of fine electronic music, which sounds fresh, rich and crystal clear at the same time.

Artist: Przemyslaw Rudz
P: 2021
The Martian Anthology is the latest proposal by Przemysław Rudź dedicated to Mars, which is experiencing a real scientific siege this year. There are as many as three autonomous rovers on its surface - Curiosity, Perseverance and Zhurong, which are looking for traces of life that may have existed long ago in the rivers, lakes and oceans of the planet. The direct inspiration to compose the album, however, came from reading the short stories contained in the Polish SF anthology, entitled simply "Mars". The book was edited by Wojtek Sedeńko, one of the most distinguished animators of the Polish community of authors and fans of SF literature. So here we have seventeen, several-minute-long compositions that are musical illustrations to so many stories. An album full of space, mystery, atmosphere and sound experiments, but also well-known and characteristic for the composer harmonies. Sonically, as the author of the disc himself declares, it is mainly the Korg Wavestate, a small synthesizer with great possibilities, which can also be heard in the huge dynamics, wide stereo stage and its depth. One of the most interesting Polish EM premieres this year. Recommendation!

Artist: Rudz & Pauszek & Niedzicki
P: 2020
An unusual meeting of three native electronics, which resulted in equally unusual music. Both Przemysław Rudź and Tomasz Pauszek have quite a lot of experience in the field of mechanical music. Rudź recorded with such giants of the Polish scene as: Władysław Komendarek, Józef Skrzek or Mikołaj Hertel. Tomasz Pauszek is a specialist on the technical side of sound creation. Panta Rhea's album deals with the subjects of transience, movement, changes in matter, spirituality, as well as physics and metaphysics. These long compositions merge with influences straight from the Berlin school, which catch the ambient breath smoothly. During this joint trip, both of them tried to give them a bit of a soundtrack tone. The music is not so much buzzing with constant changes, but also cannot be smoothly labeled. Rock elements are also woven into this whole matrix, which are to give these considerations on transience a specific dynamics. Despite this, this music does not lose its almost "cinematic" atmosphere in any way. It appears to be a rather compact concept in which sounds become individual verses of the title Panta Rhea.

Artist: Rudz & Pauszek
P: 2018
An unusual meeting of two native electronics, which resulted in equally unusual music. Both Przemysław Rudź and Tomasz Pauszek have quite a lot of experience in the field of mechanical music. Rudź recorded with such giants of the Polish scene as: Władysław Komendarek, Józef Skrzek or Mikołaj Hertel. Tomasz Pauszek is a specialist on the technical side of sound creation. Panta Rhea's album deals with the subjects of transience, movement, changes in matter, spirituality, as well as physics and metaphysics. These long compositions merge with influences straight from the Berlin school, which catch the ambient breath smoothly. During this joint trip, both of them tried to give them a bit of a soundtrack tone. The music is not so much buzzing with constant changes, but also cannot be smoothly labeled. Rock elements are also woven into this whole matrix, which are to give these considerations on transience a specific dynamics. Despite this, this music does not lose its almost "cinematic" atmosphere in any way. It appears to be a rather compact concept in which sounds become individual verses of the title Panta Rhea.