ISKRA
Polish multi-instrumentalist and composer Olga Anna Markowska debuts on Miasmah with a set of cinematic electro-acoustic ambience that'll surely appeal to fans of William Basinski or Zbigniew Preisner.
Markowska charts the course of a day from 'Dawn' to 'Dusk' on 'ISKRA', using zither, cello, electronics and voice to evoke moods that wouldn't sound out of place accompanying some bleak, romantic visuals. Not quite ambient and not completely classical, it's hybrid gear that plays to Markowska's production strengths; lightly processing her cello and fleshing out the performances with sub bass and sparse, subtle instrumentation, she hits an atmospheric middle ground. It's evocative stuff - if you're into the Miasmah back catalog or Deaf Center's canon then it's def worth a closer look.
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Polish multi-instrumentalist and composer Olga Anna Markowska debuts on Miasmah with a set of cinematic electro-acoustic ambience that'll surely appeal to fans of William Basinski or Zbigniew Preisner.
Markowska charts the course of a day from 'Dawn' to 'Dusk' on 'ISKRA', using zither, cello, electronics and voice to evoke moods that wouldn't sound out of place accompanying some bleak, romantic visuals. Not quite ambient and not completely classical, it's hybrid gear that plays to Markowska's production strengths; lightly processing her cello and fleshing out the performances with sub bass and sparse, subtle instrumentation, she hits an atmospheric middle ground. It's evocative stuff - if you're into the Miasmah back catalog or Deaf Center's canon then it's def worth a closer look.
Polish multi-instrumentalist and composer Olga Anna Markowska debuts on Miasmah with a set of cinematic electro-acoustic ambience that'll surely appeal to fans of William Basinski or Zbigniew Preisner.
Markowska charts the course of a day from 'Dawn' to 'Dusk' on 'ISKRA', using zither, cello, electronics and voice to evoke moods that wouldn't sound out of place accompanying some bleak, romantic visuals. Not quite ambient and not completely classical, it's hybrid gear that plays to Markowska's production strengths; lightly processing her cello and fleshing out the performances with sub bass and sparse, subtle instrumentation, she hits an atmospheric middle ground. It's evocative stuff - if you're into the Miasmah back catalog or Deaf Center's canon then it's def worth a closer look.
Polish multi-instrumentalist and composer Olga Anna Markowska debuts on Miasmah with a set of cinematic electro-acoustic ambience that'll surely appeal to fans of William Basinski or Zbigniew Preisner.
Markowska charts the course of a day from 'Dawn' to 'Dusk' on 'ISKRA', using zither, cello, electronics and voice to evoke moods that wouldn't sound out of place accompanying some bleak, romantic visuals. Not quite ambient and not completely classical, it's hybrid gear that plays to Markowska's production strengths; lightly processing her cello and fleshing out the performances with sub bass and sparse, subtle instrumentation, she hits an atmospheric middle ground. It's evocative stuff - if you're into the Miasmah back catalog or Deaf Center's canon then it's def worth a closer look.
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Polish multi-instrumentalist and composer Olga Anna Markowska debuts on Miasmah with a set of cinematic electro-acoustic ambience that'll surely appeal to fans of William Basinski or Zbigniew Preisner.
Markowska charts the course of a day from 'Dawn' to 'Dusk' on 'ISKRA', using zither, cello, electronics and voice to evoke moods that wouldn't sound out of place accompanying some bleak, romantic visuals. Not quite ambient and not completely classical, it's hybrid gear that plays to Markowska's production strengths; lightly processing her cello and fleshing out the performances with sub bass and sparse, subtle instrumentation, she hits an atmospheric middle ground. It's evocative stuff - if you're into the Miasmah back catalog or Deaf Center's canon then it's def worth a closer look.