Composed and recorded by Robert Piotrowicz in 2010-2012.
Performed on modular analogue synthesizer.
design and graphics: Robert Piotrowicz
visual adviser: Igor Krenz
mastering and vinyl cut: Rashad Becker
Lincoln Sea is Robert Piotrowicz's second release in 2013 after the acclaimed 'When Snakeboy is Dying'. 'Snakeboy' opened windows with it's sophisticated weaving of guitar, piano and vibraphone, along
with Piotrowicz's more recognisable modular synth work. Praised from the likes of Brian Olenwick (Just Outside), Massimo Ricci (Touching Extremes) 'Snakeboy' saw Piotrowicz take a confident leap into new realms of sound. With Lincoln Sea, the potential of Piotrowicz' vision is greatly expanded whilst exclusively focussing on modular synthesis. The result is a dizzying journey into the nature of machines and the elements of natural order that can be coerced out of them.
Comprising of a single long form work split over 2 sides, Lincoln Sea is a complex multilayered combination of sonic architecture and narrative drama. Investigation of sound mass as an architectural form expands the work beyond the exploration of a single instrument resulting in significantly more vast and expansive sound landscape. The management of the electronic matter aligns itself with the logic and even sound world of an orchestra with wailing strings flying amongst the brass-like explosions of the bass. The tension resulting from the pull between the sonic world and the emotional capacity of the electronic microtonal explorations make for one of the years assured releases. On one hand, Lincoln Sea can be perceived as an exhilarating audio experience, one of immense thrills, intensity and a rich sonic experience. With further listens, the intrinsic layers and idiosyncrasies will become more apparent providing further aesthetic experience as one hears new sounds, new corners, new worlds.
Piotrowicz's role as despot composer has created a remarkable release which incorporates an evolving landscape, human gestures, an absence of chaos, the orchestral (and rock?) organisation of sound, the false ends and an extreme combination of scientific/architectural design seeped in abstraction and human emotion.
This is a landmark release from one of Poland's most revered musicians.
Mark Harwood, September 2013