modern composition · synth piano
One synth piano, and as little else as I can get away with.
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
I make music about cranes and stillness, and I mean every note — but I won't pretend it's free.
Choosing quiet can look, from outside, like disappearing. Some days the calm I write about is the calm I most need myself.
If you make gentle music and feel overlooked, you are not doing it wrong. That is just the shape of it.
The method is dull and I'm proud of it — a synth piano, a quiet room, the delete key.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
In the lineage of Erik Satie, Claude Debussy, Ludovico's quiet school, if I'm honest.
There is a single feeling under “Crane Poetry”: the idea of cranes.
It is modern composition, so nothing hurries — the synth piano is allowed to just sit in the room.
Play it low. It was made low.
Concrete is the whole subject, really — the synth piano just circles it.
Between the notes I left in as much industry as I could.
That is all it wants to be.
“Sky Manuscripts” started the way these do — a long look at industry, at an odd hour.
I wrote it at the synth piano, mostly late, mostly by deleting.
Made small, on purpose.
Plays rarely. Tiny rooms, Poland. Word of mouth. Enquiries only.
Music built like a building — concrete, cranes, and poetry found in scaffolding.
Works in modern composition. One synth piano. Not much else.
Circles cranes. Avoids urban poetry. Releases quietly: “Crane Poetry”, “Sky Manuscripts”.
Space over spectacle.
