"Resonance of Lights and Shadows: 
A Deconstruction of Vitali’s Chaconne in G Minor"

In "Resonance of Lights and Shadows" the artist presents a daring deconstruction of Vitali’s Chaconne in G Minor, transposing the baroque masterpiece into the realm of experimental electronic music. This piece reimagines Vitali's composition through the lens of modernity, utilizing the interplay of synthesized sounds, digital manipulations, and fragmented echoes to explore the depths of historical resonance within contemporary sonic landscapes.

The track dissects the original chaconne's intricate harmonic structure, isolating and reconstructing its core elements to forge a new auditory experience. Through the application of granular synthesis, the artist disintegrates the familiar melodies, transforming them into ephemeral whispers and haunting drones that linger in the aural space. These spectral fragments evoke a sense of temporal dislocation, as if the echoes of the past are being refracted through the prisms of digital distortion.

Each segment of "Resonance of Shadows" is meticulously crafted to juxtapose the ornate elegance of the baroque period with the raw, unfiltered textures of electronic soundscapes. The rhythmic pulses and oscillations serve as a counterpoint to the chaconne’s original dance-like qualities, creating a dialogue between tradition and innovation. The deliberate manipulation of dynamics and spatialization immerses the listener in an evolving sound field where the boundaries between time, genre, and form are blurred.
By stripping away the conventional frameworks and expectations, the artist invites the audience to engage with Vitali’s Chaconne on a fundamental, almost primal level. This deconstruction challenges the listener to reconsider the essence of musical beauty and complexity, emphasizing the transformative power of reinterpretation. "Resonance of Shadows" stands as a testament to the enduring relevance of classical compositions, demonstrating how they can be reinvented to resonate with the consciousness of the present and future.
In this audacious reimagining, the artist not only pays homage to the timelessness of Vitali’s work but also propels it into new dimensions, inviting us to contemplate the symbiotic relationship between past and present, tradition and innovation, sound and silence.

"Czarny Pokój"
quadrophonic sound installation project

 Czarny pokój to nawiązanie koncepcyjne projektu do czarnego pokoju jako potocznej nazwy na Studio Eksperymentalne Polskiego Radia (1957 2004). Można doszukiwać się również nawiązania do obrazu Kazimierza Malewicza pt. "Czarny kwadrat na białym tle", gdyż przestrzeń została wbudowana w białe pomieszczenie o podstawie kwadratu. "Czarny pokój" to pierwsza w kraju galeria dźwiękową, z rocznym programem instalacji dźwiękowych. Do projektu zaprosiliśmy twórczynie i twórców z całego świata oraz artystki i artystów kraju i z Gdańska.
Czarny Pokój is a conceptual reference to the black room as a common name for the Polish Radio Experimental Studio (1957-2004). One can also find references to Kazimierz Malevich's painting entitled "Black Square on a white background" because the space was built into a white room with a square base. "Czarny Pokój" is the first sound gallery in the country, with a yearly program of sound installations. We invited creators from all over the world and artists from Poland and Gdańsk to the project.

(ongoing) music collaboration with Niczos - white voice singer 
exploring the sounds of the Polish-Belarusian borderland.

The project combines contemporary electronic sounds, with elements of traditional sounds from Białystok, such as white singing, language, and the sound of violins. This combination creates a sonic journey that transports the listener to a space where the past meets the present. Our material is modern yet reflects the character of the Podlasie region. You can expect music that is both innovative and immersed in tradition, and above all – full of emotion and artistic passion.

upcoming vinyl release around autumn 2024



"Immersed Sensibilities"
Music Album

"Immersed Sensibilities" is Antonina Car's debut LP album released under the American label Time Released Sound. Working on the album, the artist spent half a year in seclusion, in her home studio, composing and recording practically every day. That way, she could focus on ideas and experiment with all available resources. At first, the album was intended to be instrumental. During the composition process, the artist arranged subsequent layers of sound by humming, however, she began to perceive the voice as another instrument. Antonina used the violin, baritone violin, cello, keyboards, and synthesizers for the recordings. She recorded all these instruments herself. The last track includes a flute and a clarinet played by a composer from Malaysia - Zurfahani Batrisya.
“Phenomenons and events occurring in nature are the ultimate source of metaphors for every human condition. Nature perfectly shows us its strength and vulnerability, poetically flawless in its beauty and ferocity. Immersed Sensibilities is an attempt to transcribe feelings, stories, and events into a synthetic, self-contained sonic universe. It's a reflection of the intensity with which humans often imagine their emotional presence matters.” - Antonina Car

In the sounds, song titles, and original lyrics, the artist repeatedly refers to the idea of ​​fluidity and ambivalence as a form of understanding and accepting transitional states in life. According to her, fervency is an emotional state that reflects the transfigurative character of nature. Antonina's works introduce the listener to a specific sonic "biosphere" in which we hear synthetic "beings", invented, and pictured by the imagination. The fragments with the voice are a reference to the listener's consciousness because the words are the only recognizable element - reminiscent of human reality.
The sounds in the tracks are electronically processed. Fragments that resemble field recordings (wind, thunder, rustling) are designed entirely digitally. The last piece on the album is a form of a manifesto. This is the only song in which the artist does not play string instruments. Instead, she focuses on the narrative, and this time a real field recording appears in the song - subtle footsteps on the forest ground. The song correlates with the artist's journey and it’s a form of a letter written to oneself. It combines a disorderly and uncertain beginning with a resolved yet subdued ending.


"Spontan_06 half-improvised concert live at Kolonii Artystów"
20min electroacoustic composition for violin and electronics performed live at a concert venue in Gdańsk


Flautando is a neo-classical and post-minimalistic music track. The single was composed entirely by the pair and was mixed and mastered by Polish sound engineer, Karol Wiśniewski. Despite the distance between Fahani and Antonina (Malaysia - Poland), they completed the entire production remotely.
The concept behind this track is to create a genuine feeling of flow and depth, bringing the listeners an unhurried feeling of integrity with rhythms and structures played by real instruments. With Antonina on the violin and Fahani on the flute, this paired to an intertwined melody and later again diverge and play individual parts.


Short violin & viola improvisation video capturing my recording process
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