Genre: Minimal IDM / Rhythmic / Experimental / Downtempo / Glitch
01) Black Dog (Feat. Hiiro-tent)
02) Hackneyed Words
03) The ribbon
04) Raindrop (Feat. Natalia Grosiak)
06) I saw some Pretty Flowers Today
07) On your way
08) Magnitophono – the robot can’t Swim (Feat. Pleq)
09) Oyasumi Nasai
10) A very Gentle Death
11) Sound of Rebirth
12) Swell Bliss (Downtempo Edition)
13) Sound of Rebirth (Tapage Remix)
14) The Ribbon (Nebulo Remix)
15) Raindrop (Spyweirdos Remix)
Pleq is the solo project of Polish IDM/experimental producer and musician Bartosz Dziadosz. Though he started his music career modestly in 2008 with “Lucid Dream” on Halbsicht Records, he has become increasingly prolific in the past two years. 2011 saw, by far, his most productive year having put out releases on Basses Frequences, Progressive Form, Rural Colors, Twisted Tree Line, and Ephre Imprint amongst others. He has also had a slight dedication to net-labels since his humble beginnings with the likes of 77industry, Crazy Language, and Audio Gourmet. “Sound of Rebirth” symbolizes one of his most professional releases to date, both in its professional design, it’s physical appearance as a pro-pressed CD, and in the quality of the tracks composed. Dziadosz has also been known to record under the dark ambient moniker “Nous” in which he’s offered one release to date on the netlabel 77industry back in ’07. He has also recorded under the name “Bartek Intelligible” for one release, another short work entitled “Songs of Sens and Nonsens”, again on a netlabel, only this time Envizagae in 2008. He has also taken part in the project “Dusk to Dawn” with another electronic producer in Shintaro Aoki, and recently performed for one track under the name “The Frozen Vaults” with cellist Dave Dhonau, pianist Yuki Murata (Cru, Anoice) and Harry Towell (Audio Gourmet, Spheruleus, and more recently, Paper Relics) for the compilation “Festive Greetings from Hibernate & Home Normal Mix” on Hibernate Records. The man has obviously been enormously busy over the past few years.
Pleq’s particular breed of IDM is particularly unique in it’s sombre atmosphere. Though certainly rhythmic throughout the album, the artist seems to prefer to create an Earthly, dark, melancholic atmosphere through his electronic compositions rather than opt for anything so cold/inhuman that it comes out industrial nor anything so rhythmic that it would be aimed towards any kind of dance floor crowd. His rhythms are as subtle as his ambiance is desolate, and that, in a nutshell, goes a long way to describing the sound that Pleq incorporates. Everything is about maintaining a well-balanced atmosphere of despondency while still successfully incorporating percussive elements and experimental textures. Of course, no music this involved is quite that simple and there are a great many techniques that Pleq uses to attain his unique sound. The experimental side that is often lost in the more hearty elements of the music at times borders on electroacoustic ambient with it’s seemingly randomized clicks and fuzzy vinyl-styled production. Vocals are also present on a few tracks and all come from guest musicians. “Black Dog” features Hiiro-tent whom delivers a pensive, drawn back female vocal style that doesn’t completely sit well with the track that it is contained within. The mood is certainly right, but perhaps her voice is not as is evidenced by “Raindrop” where Natalia Grosiak performs. She delivers a similar vocal style, but it comes off as more in tune with what is going on in the track. I personally can’t help but be reminded of several tracks from the Silent Hill series for that song, with its foggy, thick atmosphere in the back where the vocals are well mixed to come out of it.
There are a number of guest musicians that have taken part “Sound of Rebirth” outside of these two vocalists including Magnitophono whom have actually donated a track that Pleq took part in, entitled “Robots can’t Swim”. Though the track would appear by name to be completely different in theme from the rest of the album, the music within is actually quite similar in its subtle passionate approach as well as its dark lyrics. The vocals here are more akin to some lighter modern trip hop styles and perhaps aren’t the best choice for the record, but due to it being someone else’s song, that has little to do with Pleq. They certainly don’t hurt the album as a whole though I feel the placement of the track would have been better suited towards the end with the remixes rather than right in the middle. Speaking of remixes, several other artists offered up their skills for this release including the abstract artist Spyweirdos, IDM / ambient artist Nebulo (Hymen Records), and IDM / rhythmic industrial artist Tapage (Tympanik Audio). So it seems that while Pleq is turning heads from IDM lovers in general, he’s also getting some looks from some well-known names in the scene as well.