Remaining Sounds
by Grzegorz Bojanek
Warren Daly (Invisible Agent)
Warren Daly (Invisible Agent)
A joy to listen. Beautiful creations from a true master of ambient and experimental.
Chris Wright
Chris Wright
Such amazing attention to detail, this album takes you on a journey down a shimmering deep river of sound.
Favorite track: Remaining Sounds Part 1.
G M Slater
G M Slater
Beautifully organic and moving. A release where the processes used are as much a part of the art as the sounds themselves...
the_real_stoli
Lars Lentz
KOJI The Planet Stoned Plus
Padre Tóxico
tomaszjan
Teodred
Dj Ross (Medulla Oblongata Records)
Don Haugen
Dominik Sieradz
Restless Astronaut Rec
Bienzen Reiss
Spam Texter
Alexander Bramford
David Wesley
David Howarth
David Smith
Martin Clark
Jaroslaw Czempas
Randall
Piotr Dąbrowski
Slow Flow
KottonKrown
robin grey
Paweł Szczygielski
Alex Leonard
Kostas
Nico van Hemmen
Steve Dales
OIRH
knowmad soundz
Thomas Bücker
John KochNorthrup
Tuonela
Gabriel
Inge Kolstad
Notuv
OniriaSounds
Paweł Nigot
Electronic Library
J4M35
Doug Dillaman
11herbert
agnieszka_elfelo
geoffwozniak
jungerhund
f9881830
chzamag
Artur Bekiesza
Xyzygy
openearsian
Grzegorz Bojanek
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
The download contains additional PDF booklet containing a full description of the album + production photos.5 PLN or more
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Full Digital Discography
Get all 39 Grzegorz Bojanek releases available on Bandcamp and save 45%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Distortion Destroyed Again, Trees (single), Loops for People, Na trasie Kolei Warszawsko - Wiedeńskiej | Nagrania terenowe, Uncertain, Four Summer Singles EP, All Bento, Chronique (Single), and 31 more.
186.18 PLN or more (45% OFF)
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Super Limited Edition With Cards Wrapped in Tape
Compact Disc (CD) + Digital AlbumI am collecting money for the new bass guitar for my son Benjamin. He is 16 and is a bass player in his school band but he wants to learn how to play the 5 string bass guitar and play in his own band. I want to support him as much as I can and want to buy him the new electric bass guitar. I started looking for my CDs which I can sell and I found the last 2 copies of the limited edition of the "Remaining Sounds".
The package consists of a CD in a nice cardboard sleeve and a set of square postcards wrapped in the reel-to-reel tape.
Your support means a lot to me and my son, too! Thank you!
Includes unlimited streaming of Remaining Sounds via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Sold Out
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1. |
Remaining Sounds Part 1
07:01
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2. |
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3. |
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4. |
Can't Take My Breath
03:06
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5. |
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6. |
Period Of Consequences
04:47
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7. |
Rewind
04:12
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8. |
Remaining Motionless
06:59
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9. |
Looking Into The Future
08:39
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about
In 2010 when I returned home from the Shanghai Biennale where I performed with Zen Lu music to the Isaac Julien's film "Better Life", using different instruments, sometimes DIY boxes and contact microphones I realised that I don't want to use any synthesizers or plugins to create my music. I thought that all soundscapes can be created out of the remains of the sounds which you can hear using the reverbs and delays. I also thought that I can play all sounds myself, or I can use field recordings and try to find all that remaining sounds.
I really like the sound of the tape. It adds this vintage analogue sound to the music, which I really like. I used my old SONY TC-252 tape recorder to add that analogue touch to my recordings. Therefore things I recorded in Ableton were recorded to the tape and again returned to the computer. The fact that the head of the recorder is worn out adds even more old style analogue hiss and sounds which were earlier considered unwanted by many producers.
I also acquired a nice Tascam Porta 07, which was used during the production of the album. I used it to “destroy” the soundscapes I recorded with the “freeze” option of the Reverb effect. The sounds from the tape were processed with the Gleetchlab 3.0.
I started each track with just one sound, and sometimes this sound was transformed so many times, that almost the whole track was made of it. Sometimes I started adding different sounds to get more space. As mentioned before I also recorded many of the tracks into a tape, and than back into the computer to get the characteristic analogue hiss. I like the sound of the traditional instruments, so I recorded many guitar loops and some piano sounds. The things which surrounded me became the source of sound recorded in many different ways.
The first sketch of the album was ready just after a few weeks. Later I started changing things and recording more tracks. When the album was almost ready I experienced a hard rive failure and lost many tracks. Than I recorded a lot of music using only Tascam 4-track tape-recorder. Some of the loops created during that session were also added to the final version of the album.
Although some of the tracks sound more or less experimental, I implemented some melodies into the compositions. I must say, that I am a big fan of harmony and nice melodies, and no matter how hard I try to get rid of them, they simply slip into my tracks and became an integral part of the music.
The mastering of the “Remaining Sounds” was made by my friend Krzysztof Orluk (his latest album “Blurred Reflection” was published by Databloem). Apart from using his new gear, he also used the analogue device created by Andrzej Starzyk (Looptrotter). It is an analogue tube saturation system. It is a stand alone, fully functional device. Thanks to Krzysztof Orluk the album sounds really analogue, just as I intended at the very beginning.
I really like the sound of the tape. It adds this vintage analogue sound to the music, which I really like. I used my old SONY TC-252 tape recorder to add that analogue touch to my recordings. Therefore things I recorded in Ableton were recorded to the tape and again returned to the computer. The fact that the head of the recorder is worn out adds even more old style analogue hiss and sounds which were earlier considered unwanted by many producers.
I also acquired a nice Tascam Porta 07, which was used during the production of the album. I used it to “destroy” the soundscapes I recorded with the “freeze” option of the Reverb effect. The sounds from the tape were processed with the Gleetchlab 3.0.
I started each track with just one sound, and sometimes this sound was transformed so many times, that almost the whole track was made of it. Sometimes I started adding different sounds to get more space. As mentioned before I also recorded many of the tracks into a tape, and than back into the computer to get the characteristic analogue hiss. I like the sound of the traditional instruments, so I recorded many guitar loops and some piano sounds. The things which surrounded me became the source of sound recorded in many different ways.
The first sketch of the album was ready just after a few weeks. Later I started changing things and recording more tracks. When the album was almost ready I experienced a hard rive failure and lost many tracks. Than I recorded a lot of music using only Tascam 4-track tape-recorder. Some of the loops created during that session were also added to the final version of the album.
Although some of the tracks sound more or less experimental, I implemented some melodies into the compositions. I must say, that I am a big fan of harmony and nice melodies, and no matter how hard I try to get rid of them, they simply slip into my tracks and became an integral part of the music.
The mastering of the “Remaining Sounds” was made by my friend Krzysztof Orluk (his latest album “Blurred Reflection” was published by Databloem). Apart from using his new gear, he also used the analogue device created by Andrzej Starzyk (Looptrotter). It is an analogue tube saturation system. It is a stand alone, fully functional device. Thanks to Krzysztof Orluk the album sounds really analogue, just as I intended at the very beginning.
credits
released June 15, 2012
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Instruments and "stuff" used to record the album:
electric guitar, electroacoustic guitar, acoustic guitar, melodica, old battered school piano, wuahn cymbal, chromatic bells, kitchen utensils, chopsticks, paper, nuts in a box, contact microphones, DIY toys, DIY coil, turntable clicks, analogue taperecorder, tascam 4-track taperecorder, field recordings
All tracks written, performed and mixed by Grzegorz Bojanek
Track 2: Clarinet by Michał Kędziora (Noiko)
Mastering: Krzysztof Orluk
Thanks: Evan Sornstein, Jarek Grzesica, Piotr Michałowski, Mateusz Bąkała, Zen Lu, Krzysztof Orluk, Isaac Julien
Special Thanks & Love: Anna, Ben, Jagoda
originally published by www.dynamophone.com
.
Instruments and "stuff" used to record the album:
electric guitar, electroacoustic guitar, acoustic guitar, melodica, old battered school piano, wuahn cymbal, chromatic bells, kitchen utensils, chopsticks, paper, nuts in a box, contact microphones, DIY toys, DIY coil, turntable clicks, analogue taperecorder, tascam 4-track taperecorder, field recordings
All tracks written, performed and mixed by Grzegorz Bojanek
Track 2: Clarinet by Michał Kędziora (Noiko)
Mastering: Krzysztof Orluk
Thanks: Evan Sornstein, Jarek Grzesica, Piotr Michałowski, Mateusz Bąkała, Zen Lu, Krzysztof Orluk, Isaac Julien
Special Thanks & Love: Anna, Ben, Jagoda
originally published by www.dynamophone.com
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about
Grzegorz Bojanek Poland
Grzegorz Bojanek (1975). As an artist he consequently introduces field recordings and electroacoustic sounds into his compositions which are the combination of the modern melodics ambient and sometimes noise.
discography
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Aug 2023 -
May 2023 -
Mar 2023 -
Jan 2023
contact / help
Grzegorz Bojanek recommends:
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Buddha Machine 3 - 禪房
by Christiaan Virant and 张荐I love Buddha Machine - especially #3
go to album -
NOIKO is simply a genius! Get the album without thinking :-)
go to album -
Structure Of
by ChoP vol. 5 | Krzysztof Orluk & Bai TianAwesome collaboration between Polish and Chinese artists. And a great physical package!
go to album
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