Undermathic

New digital release by Undermathic available now from Tympanik Audio

2011/09/13

Undermathic presents his listeners with 13 unreleased and deleted tracks from his pre-album years in a digital-only release appropriately titled ‘Deleted (1999-2006)’. Each song here could easily pass for new material, exhibiting Maciej’s solid production and composing skills even in their earliest stages. From the industrial-tinged tautness of “Mechanical Steering”, “Bypass”, and “Moyen Age”, the quirky electro rhythms of “Stereo” and “Idleness”, to the smooth melody-laced atmospheres of “My Room”, “Parallel”, and “I’m Waiting”, Undermathic once again delivers another memorable collection of songs full of vitality and warmth.

Please download from:
http://undermathic.bandcamp.com/album/deleted-1999-2006
http://tympanikaudio.bandcamp.com/album/deleted-1999-2006

All songs written and produced by Maciej Paszkiewicz between 1999 and 2006. Cover artwork by Timoth�e Mathelin aka shift.

New video!

2011/07/03

Today we are demonstrating new video to song "Saiph", from album "10:10pm".
It is a flash, space animation created by Szymon Skrypoczko.
Please watch...

New photos

2011/04/23

A few new photos made by Polish photographer Robert Gauer. Please check the gallery...

Undermathic on new free compilation

2011/04/18

Classical-ambient song "Alrauna" made by Undermathic is starting Chroniques Electroniques 's compilation "When Light's Drillin The Haze"

Please download for free!

Italian review...

2011/02/16

Secondo album, ad un anno esatto dall'ammirevole debut "Return To Childhood", per il solo-project polacco, recente scoperta dell'ottima Tympanik, autentico faro del fiorente panorama IDM col suo gettito continuo di uscite di qualità e spessore...

More: Press or http://www.darkroom-magazine.it/ita/102/Recensione.php?r=1907

chroniqueselectroniques.net

2011/09/28

Maciej Paszkiewicz est originaire de Pologne. Plus connu sous le nom d'Undermathic, il cumule les talents de batteur, pianiste et guitariste, et appara�t comme l'un des projets les plus singuliers de la maison Tympanik. En deux ans l'homme a sorti deux superbes albums, Return To Childhood (ici) et 10:10PM (ici), interrogeant sans cesse l'�quilibre entre pulv�risation rythmique et sensibilit� �clatante. Ce troisième opus a ceci de particulier qu'il regroupe ce qui a pr�c�d� ces albums, 13 titres que Undermathic a compos� entre 1999 et 2006, qui ne devaient jamais voir le jour, et qui finalement forment Deleted (1999-2006). L'inverse aurait �t� hautement regrettable.

Lorsque nous lui avons demand� un titre pour notre compil' When Light's Drillin' The Haze (ici), Maciej a accept� en pr�cisant qu'il ne cr�ait pas d'IDM/indus, et que d'ailleurs il n'aimait pas �a. Aussi sa musique se prête très mal aux cat�gorisations. Si Return.. et 10:10PM d�veloppaient des aspects parfois abruptes et �corch�s, on r�alise que ses premiers travaux sont emprunt de douceur, d'une po�sie t�nue, fil�e de sentiments vaporeux. La stratification complexe des couches instrumentales, propre au musicien, vous aspire dans des continuum m�lodiques dont on ne voit la fin. Souvent downtempo, le travail du rythme jouit d'une ex�cution millim�tr�e, d'une production impeccable. La densit� des flux, la sensation de beat gaz�ifi� et l'atterrante beaut� de ces m�lodies changeantes assiègent et ma�trisent l'auditeur. La sophistication et cette fougue à peine contenue peuvent �voquer les oeuvres de Ginormous. Telle une sorte d'�lectronica concrète et hors du temps, la musique que composait Undermathic dans les ann�es 00's procure des perceptions à la fois chaotiques, planantes et extatiques. Les lac�rations m�talliques crissent à ne plus en finir, les cordes s'�grènent, inaccessibles, et, telles des lucioles, les synthtones volettent et font briller l'espace. S'il �tait sorti aujourd'hui ou il y a quinze ans, cet album aurait très probablement eu les mêmes effets. L'utilisation mesur�e de mat�riel analogique est du meilleur goût et il �merge à l'occasion des tonalit�s propres à l'�lectronique des 90's (le g�nial I'm Waiting).

Mais avant la volupt�, Deleted s'ouvre sur la rumeur autiste des bruits d'une usine, Mechanical Steering ou un va-et-vient oppressant soulev� par l'inqui�tant reflux des nappes. Pour ma part, l'album ne d�marre vraiment que deux titres après, à partir de Popmusic. Là tout s'enchaine, et quand vient l'ardente apog�e de l'album, on est happ� à un point hallucinant. Tel un Big City Nights �pur�, ralenti et c�leste, Parallel est un morceau qui va au-delà du sublime. Alors que les drums semblent galoper sur du velours, un prisme distille des gouttes lumineuses, tachant un voile d'ambient noir de nostalgie... Puis les perles se succèdent, sans temps mort. Drugi Breg, Film, Moyen Age, l'incroyable Sagarmatha et Far From You �claboussent l'album de leurs divins antagonismes.

Il est fascinant de d�couvrir le passif d'un musicien. Lorsque celui-ci s'avère aussi hors du commun, on en vient à se demander pourquoi ces p�pites dormaient en solitaire depuis une dizaine d'ann�es sur un disque dur polonais. On peut maintenant exprimer toute notre gratitude envers Undermathic pour les avoir r�alis�es, à Paul Nielsen pour sortir ce splendide album en t�l�chargement gratuit.

www.igloomag.com

2011/04/09

On the tenth of October last year (quite literally 10/10/10) and almost exactly one year after his debut album Return To Childhood Tympanik Audio released 10:10PM, Polish electronic composer Maciej Paszkiewicz’s second full length as Undermathic. His debut album was widely reviewed and rightly praised for its intensity and towering layers of dense and earthy sound, but one of the criticisms leveled at Return to Childhood was that in spite of the brilliance of the production, the musical composition was sometimes lacking, many tracks following a basic and rather repetitive verse/chorus/verse/chorus structure that lacked progression.

10:10PM doesn’t just address this issue, it stamps it into a fine paste and buries it in the ground, which then claws its way back up from beneath the silt and soil to emerge, blinking, into the dazzling, multi-coloured glow of “Big City Lights,” blasting away the melodic cul-de-sacs to reveal glittering city skylines, streets bustling with pedestrians, streaming traffic, the distant sounds of building construction/destruction muffled by the wind channeled between dirty high-rise buildings. Tanner Volz and Britt Parrott’s video for the track documents precisely the kind of visuals the album evokes all on its own: slow motion shots of downtown buildings passing by, views through the windows of restaurants, bars, shops and office blocks, the faceless masses of a sprawling urban conurbation streaming past through markets, nightclub exteriors, any random street… brilliantly capturing the sense of anonymity and isolation one can feel in such spaces.

“Big City Lights” is a killer opener and probably the finest track on 10:10PM but everything on this release is fueled by a similar panoramic claustrophobia and there’s a new take on Undermathic’s swirling, soupy composition in every track. “Quantum Theory,” for example, announces itself with a repeated, grandiose synth horn that’s a veritable call to arms, then unleashes shimmering synth keys, dry, bassy vocal pads and chalky percussion to kaleidoscopic effect, and “I Remember” expertly mixes the kind of warm, flowing ambient washes one would expect to hear on a Global Communication album with early System 7 post-rock guitar riffs to surprisingly compelling effect.

In fact the classic Undermathic verse/chorus structure does make an appearance once or twice here, notably in the moments of shimmering ambiance counterpointed by the thunk/clunk of intricate beatwork on “Searcher” or the gleaming arpeggios alternated with scraping clangs/clanks on “Alternative Timeline,” but as demonstrated by the formers’ vocal pads and arpeggiated keys or the sweeping strings of the latter, there’s always progression and new elements thrown in from beginning to end, creating a far less abstract experience than on his previous full length. 10:10PM is packed with classically composed melodies rather than programmatic constructs and loops that all contributes to the highly visual nature of the work.

In spite of all this urban intensity, Undermathic knows when to offer the listener the chance to take a breather, affording time and space to regroup, as on “Saiph” as fizzling crackle, low end rumble, the distant screech of tyres on tarmac, more construction clanging and an underpinning wave of soothing strings provide as much calm as the environs of 10:10PM‘s city-scapes will allow before the rhythmic engines and machinery of the title track turn over.

Even in the very latter stages of the album, Undermathic is still reinventing and mutating his sound and the narrative structure of the album kicks into an even higher gear. The almost Wip3out-styled rolling synths of computronic “Level III” propel the listener on a high speed race out of the city through the dusty chimes, harps and sea spray of “7 Years” down to the wave-drenched shores of the “Sea,” the calling of seagulls the last thing one hears at the end of this great escape.

An absolutely archetypal release for Tympanik Audio, 10:10pm oozes confidence and conviction, delivering in spades everything a good, accessible electronic record should with such aplomb it’s actually hard to criticize in any constructive way because it literally doesn’t put a foot wrong for the duration. Undermathic has crafted something in 10:10PM that is naturally compelling, intense and narrative without being demanding or exhausting, the ever-changing pacing and mood handled with such style and subtlety that it is barely noticeable, making this one of the most straight-through listening experiences in the label’s history.

www.reviews.headphonecommute.com

2011/03/17

It feels a bit peculiar. Didn’t I write about an album titled 10:10pm before? This feeling reminds me of that moment in the night, when you wake up at a seemingly random time, yet the alarm clock always beams in red, 10:10pm. Undermathic did in fact record the same titled album before he was signed to Tympanik, but it was a self-released album, at times lacking the self confidence and pride that an independent label can provide. From the composition and production perspective, the sophomore release by this Poland native Maciej Paszkiewicz, offers the listener a transparent view into the world of multiple dimensions and spectrum of sound. Complex textures and sonic treatments blanket the surface sprinkled with rhythm and intricate percussion, until the central theme seeps through and carries you away with its cinematic undertones, and you hear the seagulls by the beach, and forget that you are merely on a commuter train with a screaming baby in the seat behind you. With the album’s “massive washes of ambiance and infection beatwork mixed with brooding melodies and heavy synth lines,” the second album by Undermathic for the label is a lot more mature than his previous, Return To Childhood (2009). I will definitely continue keeping my eye on the music from Undermathic, as this artist continues to develop his inevitable brilliant future.

www.cyclicdefrost.com

2011/02/27

Polish electronic producer Maciej Paszklewicz first emerged under the Undermathic alias back in 2009 with his impressive debut album ‘Return To Childhood’ on Tympanik Audio, and just over a year later this follow-up ’10:10PM’ sees him continuing to craft lush, brooding soundscapes that fuse dark ambience with the distant pulse of contorted rhythms. In many senses, the eleven tracks gathered here see Paszklewicz bringing an increasingly smooth edge to his productions, and while there’s still the odd crunching abrasive element to be found here, ’10:10PM’ feels distinctly more flowing and driven by synth atmospheres than its predecessor. As the title suggests, there’s also a distinctly nocturnal feel to all of the tracks here, making this a collection best listened to late at night through headphones. Opening track ‘Big City Nights’ offers up what’s perhaps this album’s most extrovert and crunching moment as steel-plated hiphop rhythms wander against brooding orchestration and twinkling electronic effects, offering up a taste of the same sorts of martial, post-’Mezzanine’ influences in play on ‘Return To Childhood’.

‘Quantum Theory’ meanwhile sends things gliding out into seven minutes of crystalline synth ambience, as fluttering techno snares and rich washes of twinkling synthetic orchestration build a sense of widescreen prog-ambience that feels curiously closer to the likes of early eighties Tangerine Dream, vast bass synth notes and all. Elsewhere, ‘Alternative Timelines’ traverses a similar prog-ambient informed path, but manages to turn the levels of doomy foreboding up a few notches, as eerie ringing tones and delicate minor key arrangements slowly wind themselves up around a crunching backdrop of slow industrial rhythms and majestically ominous synth orchestration, while the eight minute long ‘I Remember’ sees oceanic washes of ambient pads unfurling like smoke beneath intricate buzzing rhythms and what sounds like treated guitar chords, evil synths beginning to worm their way into the mix at points before things uncoil back out into a blissfully planktonic crawl. An excellent second album from Undermathic that, alongside Dirk Geiger’s recent ‘Autumn Fields’ collection, highlights the more ambient and contemplative side of the Tympanik Audio label roster.

Chris Downton

www.darkroom-magazine.it

2011/02/16

Secondo album, ad un anno esatto dall'ammirevole debut "Return To Childhood", per il solo-project polacco, recente scoperta dell'ottima Tympanik, autentico faro del fiorente panorama IDM col suo gettito continuo di uscite di qualità e spessore. Con - se possibile - ancor più raffinatezza melodica, più intensità ed un beatwork saggiamente meno abrasivo rispetto alla ruvidità di fondo che marchiava il debut, il bravo Maciej Paszkiewicz compie un ulteriore significativo passo verso la piena maturità, rifinendo al meglio - fra le splendide melodie che dipingono i vari quadri sonori - intrecci sinfonici di enorme pregio, spesso costruiti sfruttando archi dai toni drammatici e partiture toccanti. Il Nostro regala all'ascoltatore momenti di rara bellezza strumentale e di grande carisma come l'inquietante, meccanico ed onirico incedere di "Alternative Timelines", la raffinatezza di "Quantum Theory" coi suoi magici passaggi sospesi e la maestosa drammaticità di "Saiph" e della conclusiva "Sea", col supporto di una produzione estremamente calzante e curata sin nei minimi dettagli. Undermathic si rivela quindi una graditissima conferma, compiendo un importante passo in avanti in vista di quel capolavoro che, già ai tempi dell'esordio, è sembrato essere nelle potenzialità venture del musicista polacco: sperando che ciò coincida già col prossimo, fatidico terzo album, non possiamo esimerci dal consigliare vivamente l'opera in esame, ennesimo gioiello targato Tympanik e sbocco creativo verso nuove forme di elettronica intelligente ed emozionante nelle sue preganti dimensioni melodiche.

Roberto Alessandro Filippozzi