Polish-born Szymon Gąsiorek has done it again – created a cornucopia of an album that both overwhelms and delights with its endless wealth of eclectic ideas, styles, and sound sources. As is often the case with this kind of release, where each track has its own distinct identity, personal favorites quickly emerge.

One clear favorite announces itself right away. The opening track, »TAK TAK NIE NIE«, explodes with an energy reminiscent of early Boredoms – a heavy dose of noise rock with shouted vocals, electric guitar, saxophone, gunshots, screams, synths, piano, and more. The third track, »STRACH LĘK NIEPOKÓJ«, also shines with a zeuhl-like momentum driven by militaristic vocals, insistent drums, jagged guitar, and saxophone. And even beyond the most immediately impressive tracks, Polofuturyzm is so packed with highlights and playful surprises that even half of it would have sufficed. Take, for example, »90s [NADZIEJA]«, featuring a trancey synth quickly and effectively sabotaged by free jazz-style drums and saxophone, or »JEDNOKIERUNKOWY«, which sounds like classic disco polo thrown in a blender and mixed with pitch-shifted vocals and clubby keyboards. Not to forget the eight-second slapstick piano flourish on »RĘCE«.

Polofuturyzm is driven by a manic refusal to ever look back. The only constant is the absence of consistency. Gąsiorek has been here before, but it still feels just as radical and refreshing.

English translation: Andreo Michaelo Mielczarek

While Sofie Birch and Antonina Nowacka’s joint debut album Languoria, with its synth-laden sound, felt like a dream of another world, their second album comes across more as a window into a bygone time. The electronic elements have stepped into the background in favour of acoustic timbres from sitar, guitar and harp, lending the music a warmer, more grounded character. A fine example is the title track, where a gently trickling stream forms a backdrop for a relaxed dialogue between sitar, guitar and voices that shift between singing and humming. There’s a clear connection to the simple melodies of folk music and those little fragments one might find oneself humming in the kitchen while the kettle boils. It is precisely this personal and inviting tone that makes the composition so effective. The track »Nøkken« likewise testifies to the strength of Birch and Nowacka’s songwriting. With its sparse instrumentation, gentle melody and carefully balanced reverb, the piece brings out the best in their voices and appears almost weightless – transparent and ephemeral.

Together, the Danish-Polish duo create music for those who dream of another time and place – not because they necessarily wish to escape their present reality, but because the quiet moments of daydreaming are full of calm, comfort and enchantment. At times, however, the sense of security takes over slightly, and one misses something to challenge the stillness – like the more prominent synths did on their debut. But for those in the mood for unpretentious beauty and quiet reverie, Hiraeth remains a strong release from two continually compelling voices in the ambient genre.

English translation: Andreo Michaelo Mielczarek

The contrast is striking when, on the hottest day of the year, you step down from the green lawns of Søndermarken into the underground world of the Cisterns, Copenhagen’s old water reservoir. The humidity is high, the light sparse, and stalactites hang from the vaulted ceilings, casting shadows in the puddles on the floor. And then there is the sound: in the empty columned halls, the reverberation can last up to 17 seconds. Even the slightest scrape echoes down here.

Since 2016, the Cisterns have functioned as an exhibition space, and this year Jakob Kudsk Steensen has transformed the halls into an underwater landscape of video projections, sculptural objects, and a soundscape created by Lugh O’Neill featuring Bjarke Mogensen on accordion. Mogensen, who is performing this evening, has a versatile taste. Perhaps a bit too versatile, I think to myself as I read the evening’s program, which spans from Bach to folk melodies from Bornholm. It turns out to hold together better than one might expect. These are compositions that seem to stretch time itself, where long tones – amplified and extended by the reverberation – form a murky foundation for short, pearling attacks, like marble balls ricocheting off a stone wall.

A shimmering, sorrowful composition by Nick Martin, inspired by Michelangelo’s Pietà – marble again – is followed by a meditation on echo among the cliffs of Bornholm by Frederiksberg-based composer Martin Lohse. Another piece rises slender and sacred like high vaults, while Mogensen’s own Passage crackles, snaps, and crunches like stones being broken. Mogensen’s accordion is in constant dialogue with the space; he calls, and the dark colonnades answer back – or is it the other way around?

The audience sits petrified, completely absorbed in the sound, as Mogensen masterfully makes his instrument sound like everything from a rapid breath to a thunderclap. When we finally emerge, heavy clouds hang over Søndermarken, and the heat is gone. The park feels transformed. The contrast is tangible.

English translation: Andreo Michaelo Mielczarek