The album Two Winters, Two Springs, contains six minimalistic compositions by Dawid Adrjanczyk, recorded in mid-2015 for Low Clouds Records. By using consciously limited ways of expression and reducing the number of instruments and compositional structures, Adrjanczyk creates his works based on meditative idiom both with regard to particular compositions, as well as the album as a whole. Six sonic journeys invoke deep attentive listening and introduce the listener into a leisurely subdued rhythm of compositions full of inner concentration, that is so characteristic of all the artist’s works.
During the recording session, the natural features of the instruments recorded were intentionally brought to the fore, with the choice of instruments (hurdy-gurdy, shepherd bells, gongs) and the fully acoustic recording imbuing Two Winters, Two Springs with an exceptional material dimension.
I would like my compositions, built upon organic variability and inscribed in the cycle of permanent expansion/extinguishing of silence and sound as they are, to evoke not only concentration on the very substance of music, but through sensation, also purely physical in nature, to encourage the listener to focus attention on themselves. Because only within ourselves is reflected all that we hear and experience.
Two Winters, Two Springs was recorded by the Akpatok Ensemble with the participation of Dawid Adrjanczyk (hurdy-gurdy, shepherd bells, gongs), Nina Adrjanczyk (shepherd bells, gongs) and Adam Sobański (gongs). Cover design by Nina Adrjanczyk.
Quicker than I realise, simple actions start to trigger entire whirlpools of friction, resonance, texture and harmonic microcosm. It’s an unfathomably deep record [...] — ATTN:MAGAZINE
The aesthetic exhibited here is to simplify the compositional process by limiting the group’s musical vocabulary to that of the three aforementioned instruments. The hurdy-gurdy takes the fore on some tracks, laying down a subtle, multiphonic texture. The percussion plays a lead role on certain other tracks, evoking a primeval atmosphere. [...] Akpatok’s “less is more” approach is certainly appealing, especially to those who prefer their music meditative, or in the Deep Listening vein. — AVANT MUSIC NEWS
In his own words, the pieces here embark towards a total minimalism; as a composer his intention was to create an organic meditation on the physical phenomena of sound. Totally lovely and absorbing music– put an ear to the ground and surrender to the journey. — FOREIGN ACCENTS