Hubert Kostkiewicz (Kurws) and Łukasz Rychlicki (Lotto, Kristen) in a sense made an attempt at folk from a post-industrial, bourgeois perspective. Their peripheries are cubist, projected in non-Euclidean geometry, distorted like a picture on the surface of a lake at the moment of hitting a stone. There is a spontaneous movement in this material - not only abstract, but also almost mimetic. The nature and simple human work outline themselves subtly yet suggestively, like a phantom. Guitars give up their cultural baggage, rather resembling tools, mechanisms and processes identical to direct life. They overflow, roll, spin, knock, wear, fail, spoil. An ear that likes to combine dots into fuller images will hear the echoes of ploughs, working pistons and water mills, ploughing on the field, manual sowing. Someone else will notice life on a micro-scale - microbic parades, cellular transfigurations, exchange of elementary substances. Another person will perk up their ears at the contradiction, catching that true note of falsehood - a landscape after a collision, in which telegraphic wires weave along empty sandy roads, the smell of fumes rises on meadows, and empty wooden huts await death next to petrol stations.
contact for shows and other stuff:
a collaborative release with Maternal Voice (maternalvoice.bandcamp.com