...In this very specific moment I suddenly had the impression that all three of us were a unit - me, the sailor and the bird, who  ew down to us like he came straight from the universe. Everything around us was quiet. There was no wind, which was also the reason why we couldn´t sail. The only sound which broke through the silence was the regular chitter of the engine. We were like a small closed organism. We were forming our own universe, it was like all the connections to the rest of the world were broken. [...] This little creature was so tired, he was mute and sleeping all the time. [...] Maybe the sailor was right - maybe the little bird really tried to escape the war, away from the mountains where the shooting started, away from the bad energy of the people who were preparing for the war. This negative energy is enough for animals to know that something terrible is going to happen. And this feeling of the bird was a feeling a lot of us had, also me and the sailor. Thuis terrible fear...

The Passenger by Zofia Posmysz has a long history riddled with a huge number of coincidences and plot twists. However, its most important or even foundational experience is the author’s visit to Paris. She travelled there as a Polish Radio correspondent on the inaugural flight between Warsaw and Paris in 1946. She only had a couple of hours to see the city, so she went to the centre and there, in the noisy and crowded Concorde Square, she heard the voice of the guard she was subordinate to as a prisoner in Auschwitz. And with that voice came the past – forcefully, like violent wind. The past which had cumulated in the memory of
her body, causing her to become stiff and paralysed, bringing fear which had been smouldering deep inside her and had never really vanished. The voice, as it turned out, belonged to someone else entirely, but the experience became a source of Posmysz’s reflection on the nature of sound...

Leoš Janáček used to scribble notes and record the speech melodies that he heard everywhere around him...

Jak Warszawa pamięta, upamiętnia i co robi z pamięcią o Fryderyku Chopinie? Gdzie ta pamięć jest dobra, a gdzie zawodzi? O czym pamiętać nie chce, a gdzie przeradza się w mit? Kompozycja radiowa autorstwa trzech wywodzących się z różnych dziedzin sztuki warszawskich artystów Marcina Maseckiego, Wojtka Zrałka-Kossakowskiego i Marcina Lenarczyka to próba rekonstrukcji - bo "rekonstrukcja" to najwłaściwsze tu słowo - szeroko rozumianej pamięci o wielkim/największym/najbardziej polskim kompozytorze.

Helmut Kajzar recorded Samoobrona. Magiczny manifest [Eng. Self-defence. The Magical Manifesto], his play written between 1974 and 1975,three times: once in the radio and twice at home, performing an amateur mix of its fragments with conversations and other private noise. These performances were autonomous materials ready for release. Nonetheless, the “staging” of Jiřička and Piotrowicz is to some extent more congruent with the spirit of the original work than any other performance, including the recordings made by the author himself. Instead of the text performed by a few voices in the theatrical space, we receive a two-channel narration which may be replayed using home equipment.

Sound essay, hörspiel, reading, electroacoustic music, plunderphonics, sound portraits, collection of songs or simply a sonic take on melancholia. Disposition or disease, melancholia is a rich psycho-territory full of apathy, depression, withdrawal, self-dismissal, hallucinations and alien voices. And hearing. In particular, suffering of the ears and peculiar way of listening related to it. In one of the footnotes in his essay „Stanzas”, Giorgio Agamben points out that the well known melancholic posture of a man leaning his head against the hand is actually an attempt to get away from suffering of his ringing ear.

The album is a studio version of a chamber opera prepared by Joanna Halszka Sokołowska at Opera// REMIX at Komuna// Warszawa. The starting point was John Barton Wolgamot’s poem „In Sara Mencken, Christ and Beethoven there were men and women”. The starting point was Robert Ashley’s composition „In Sara Mencken, Christ and Beethoven there were men and women”. The starting point was bringing thousands of people together, everyone equal, nobody playing secondary role.

The album is a collection of works of  Arturas Bumšteinas inspired by Central European cultural landscape (soundscape). It includes radio play Wielka improwizacja commisioned by Bôłt Records. Wielka improwizacja is based on the monologue from the 3^rd part of the poetic drama Dziady (Forefather's Eve) by Adam Mickiewicz and the archival recording of its reading done by the Polish poet Miron Białoszewski. Most parts of this composition were recorded in and around the site of the Basilian monastery in Vilnius, which in the 19^th century was turned into a Russian Tsarist prison where both Adam Mickiewicz and a protagonist of his poetic drama were jailed.

I bought a tape recorder for four thousand. When you come to Warsaw in May or June, we could do some recording. It's a good activity. Interesting to everyone.

Miron Białoszewski, April 1965

I bought a tape recorder for four thousand. When you come to Warsaw in May or June, we could do some recording. It's a good activity. Interesting to everyone.

Miron Białoszewski, April 1965

I bought a tape recorder for four thousand. When you come to Warsaw in May or June, we could do some recording. It's a good activity. Interesting to everyone.

Miron Białoszewski, April 1965

I bought a tape recorder for four thousand. When you come to Warsaw in May or June, we could do some recording. It's a good activity. Interesting to everyone.

Miron Białoszewski, April 1965