Lutto Lento
-2568 E.P.
Artwork by Milan Ciszewski
from Scanners Live in Vain by Cordwainer Smith
Lutto Lento's new 2568 E.P. is an album in 7-inch single form. Lutto, real name Lubomir Grzelak, has for years been one of the most acclaimed sonic storytellers around. His first outing on Meakusma is another trip beyond the constraints of musical logic, interweaving elements from industrial music, early avant-garde influences, post-club tendencies, and more, conjuring up a mini-album of huge scope.
Not unlike The Residents, 2568 E.P. touches upon stories from the deep, with an absurdist touch that is at the same time forgiving and inviting. It has a hauntological feel to it, but contradicts it at the same time. It is purring and cold, whispering and layered. Beatific and up close. There is a space ship in the swimming pool, but the cocktail party goes on, kind of. On the edge of industrial music, with a choir thrown in for good measure. On the fringes of club music. Toss the wire-sphere into the air and pay the price for space. Fake composure and dive in.
Lutto Lento is Lubomir Grzelak, a sound artist, composer, music producer, and DJ. Known for his idiosyncratic productions and eclectic sets that break barriers between genres, he has steadily built a reputation for adventurous electronic music that resists easy categorization. Beyond records, he composes for theatre, film, and contemporary dance, weaving diverse influences into a distinctive sonic language.
reviews
Polish producer and sound artist Lutto Lento works with industrial textures, post-club impulses, avant-garde quirks and ghostly atmospheres. His new EP compresses an album’s worth of imagination into a 7″ format that shows his singular approach to sonic storytelling. The record feels both absurd and inviting, like a surreal narrative unfolding in miniature. Its hauntological shimmer is constantly undermined by playful twists, shifting from cold whispers to warm, close-up gestures. Choir fragments, fractured rhythms and strange melodic echoes create a world on the fringes of club music, yet far beyond it. Once again, Lento proves himself a daring composer.
https://www.juno.co.uk
Dass man Lubomir Grzelak alias Lutto Lento teils noch vorstellen muss, ist verwunderlich, hat aber wohl damit zu tun, dass er in seinem Schaffen Kompromisse und Konzepte scheut. Noch auf seiner letzten EP hat der polnische DJ, Musiker und Mitbetreiber des Labels DUNNO mit der US-Sängerin Taylor E. Burch einen Abstecher Richtung Off-Kilter-Pop gemacht. Jetzt hat er mit der 7inch 2568 EP. seine erste Platte beim belgischen Label Meakusma vorgelegt, auf der er seinem Hang zum experimentell Unheimlichen weiter nachgeht – und wie immer hält er dabei Überraschungen bereit.
Im Opener »Go Eat Worms« kreisen eine Barockoboe (Wit Apostolakis-Gluziński) und Synths wie Geister umeinander; man hört dem Track an, dass Grzelak auch für Filme komponiert. »2568« führt als Herzstück mithilfe eines schief singenden Kinderchors, einer Harfe und dem betörenden Gesang von Antonina Nowacka in eine weite, wabernde und mystische Klangwelt. Und ein in jeder Hinsicht großes Finale ist »Bones and Trumpets«: Zu verhängnisvollen Synths tanzt ein breitbeiniger Beat, bis die Stimmung kippt und einem akustischen Sonnenaufgang gleicht, in dem sich Oboe und Saxofon zur melodischen Relaxation zusammentun. Lutto Lento ist gleichermaßen präziser Klangforscher und -erzähler – und genau das macht es so spannend, ihm zuzuhören.
www.hhv-mag.com
Box-dodging Polish outlier Lutto Lento works his charms in crooked chamber music forms riddled with a cinematic sort of Eastern European melancholy and misery and compounded by a darkside Mobbs mix.
With a stylistic range correlating to the number of labels he’s traded on – Where To Now?, Haunter, F T D, Peak Oil, and his own DUNNO – Lutto Lento keeps it ideally unpredictable in this handful of oddballs bolstered by a Mobbs version. Also in step with Meakusma’s freakier steez, the four originals span pearlescent 4th world ambient meets Bendik Giske sax grog on ‘Go Eat Worms’, thru eerie Euro soundtrack styles like Mihály Vig meets Fönal on ’2568’ and the Luboš Fišer-esque ‘Suburban Pagans (With Enhancement)’, or some Trunk-type space age library satellite fell to earth on ‘Bones and Trumpets’. Mobbs is perhaps an unusual election for the remix but turns in a deeply trippy mulch of ‘Go Eat Worms’ that feels like we woke up with half a face in the mud of a bleak field in Poland.
https://boomkat.com