"A few years ago I was hitch-hiking and had a unique encounter. One of the drivers who gave me a ride spoke in slow motion. He stuttered every syllable and it took a few minutes for him to introduce himself. On our journey he drew my attention to different things but before he could tell what he meant these things were already far behind us. I wanted to recreate in these tracks this feeling, of being unable to identify something because it's already obsolete or gone. The primary source of sound is a modular synth but I have also used samples from pieces by modern composers. For example from Aldo Clementi in “Palto”, which functions as an aggressive, abrupt voice which wakes us up from somnambulist state."
Mateusz Wysocki/Fischerle
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"Varsovian artist Mateusz Wysocki has comfortably conjoined murky electronic rhythms to concrète collage in the past, but Post-functional Dub Objects is perhaps his most user-friendly outing to date. The four greyscale modular-and-sample jams awaken over metronomic minimal beats, produced to keep the party at more than an arm’s length at all times. ‘Palto’ sounds like a Terrence Dixon set is going on at the other end of the Underground platform you’re standing on, and ‘Oktawon’ resembles Moritz von Oswald if he deemed synth bleeps the right ingredient to bleed into a session. ‘Coup de grâce’ is a more languid track, focusing on a slowed loop and groaning electronics akin to a longer cut from Actress’ Ghettoville. The mood is one of over encumbered lethargy on Post-functional Dub Objects, Wysocki proving that deftly picked shards of sampled colour can exponentially increase the emotional potency of those (increasingly common) modular workouts."
(Tristan Bath, The Quietus)
credits
released March 30, 2017
Recorded in 2016
Mastered by Michał Wolski
Artwork by Karolina Pietrzyk & Oliver Spieker
CZSZ012
