Tomasz Bednarczyk moves out of the shadows a bit more with his second full-length effort. His previous work, Summer Feelings, lent itself to being listened to in a lax and hazy manner, in a state of daydream, where its tranquilizing, therapeutic quality could be most fully felt. This work, on the other hand, though still of an unassuming pace and soothing tone, draws the listener more towards the precise definition of the sounds and their elegant placement in the mix.
Even at its most minimal, the disc shows a certain invention and a knack for thoughtful, ear-catching arrangements. Bednarczyk traces a patient progression from electronic textures that are dry and crisp, that stand up proud and then ease into the nodding pull of the cool and considered piano chords, to the slow-reveal of subtle details behind a gossamer veil of ambience. Finally, in the albums strongest segment, which takes place near the end of the work, with “Agata’s Film” and “January”, Bednarczyk subtly frames and colors environmental recordings, while simultaneously maintaining a level of heightened stasis and exploring overtones through a repetitive piano motif, thus conveying a sense of the panoramic while remaining quite personal, even private, in tone. This sublime delicacy is sustained to the very end, establishing that, as a composer, Bedarczyk is only growing in integrity.
Max Schaefer
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