Where do I even start explaining Bartosz Lasecki’s release of Bricolage which felt more like an experiment of science than with sound? In the 12-minute composition you’re treated to philosophical lyricism which I can only assume was created with a voice synth to create that old school eerie public service broadcast creeping of nostalgia. Bricolage’s evil genius style of pioneering music almost had a Lynchian quality, as much I loved the immersive ambient swirls of sound, there was a feeling of dread that gained momentum throughout the atmospherically haunting track.
To create his macabre masterpiece Bartosz Lasecki solely relied on audio production software, using cacophonies of orchestral sound around synthesised modulations with a vibrantly beautiful range of samples which included everything from bird song to hospital heart monitors. The experimental nature of the track is increased even further with a range of guitar pedals and effects which frankly puts every other ‘experimental’ artist out there to shame.
After listening to Bricolage, I couldn’t stop there, I was compelled by Lasecki’s genius level of talent, which is when I stumbled across his (infinitely more traditional) composition of piano and violin Sonatina. It took two minutes for the weight of the melancholy to hit me and reduce me to tears.
Review by Amelia Vandergast