Friday, January 13, 2023

"Bard's Woman in the Cool of the Summer Breeze" CD/Digital, The Swamp Records, USA - pre-order starts today.

Hello, for many people my best album is "Stoned Gypsy Wanderer", originally recorded 2011-2014, released in 2014 with Kendra Steiner Editions on limited CD-R, and in 2021 on vinyl with Ramble Records on limited (200) vinyl. Well, that might change today.

My best ever album, recorded with many friends, is available now for pre-order. If I were to recommend you all a good place to start with my poetry and music, it would be this CD.

We recorded my voice and old acoustic guitar (a Chinese Fender) in a rehearsal room at Gwarna Street in Poznań, Poland. Patryk Lichota (who also produced and arranged "Utopian Fields" for the album) was at the controls.

The album is short, it's got 10 songs on it, but there is no filler material. Each song features a special guest, from places as faraway as Indonesia, USA, the UK, or Germany (well, Germany's not that far away - and I have another pretty good album coming, recorded in collaboration with robvisual, a Hamburg-based photographer, VJ, DJ, and music producer - but more on that when the time is right...). Each artist featured elevated my really personal recording to a whole new level. Without those guests, the album would be just a poetry with acoustic guitar recording. Perhaps too simplistic and personal for any (even limited) commercial purpose.

Anyway, the album is here, released with The Swamp Records, USA, and I'll post all the links related to it in this post when they appear. The official release date is February 14 2023, but don't worry, you can listen to selected tracks right now (January 13 2023).
And, of course, pre-order the album at https://ajkaufmann.bandcamp.com/album/bards-woman-in-the-cool-of-the-summer-breeze

Enjoy!

Wednesday, January 11, 2023

"Pretty Annie" (2010).

Poor like a sailor
Hungry like a ghost
Leaving all the places
I had to love the most
Sweetening the sickness
Wherever it may be
Seeing pretty Annie
Coming back to me

I’ve seen it all
Along the road
I’ve been thru everything
To get her soul
And now I’m stoned
On her affairs
Read all about it
I’ve met here where
The sun is bare
Like pilgrim bones
I’ve seen it all
Along the road
Pretty Annie, I want my gold

Can’t get lower
Guess this is how I end
Back on junkie alleys
Home sweet ole trash
Playing my routines
Older than the world
Seeing pretty Annie
When it’s getting cold

I’ve seen it all
Along the road
I’ve been thru everything
Golden shot swirl
And now I’m dead
To papers low
Sold all my guitars
Quit the midnight show
The moon’s a wreck
And so am I
I’ve seen it all
Old lovers die
Pretty Annie, fix my tie

Saturday, January 7, 2023

"per-form" (2023/01/07)

kings o the night, ancient, Aztec ones - bright in sunblaze
where it shines in the darkness
they gather

below the city slum of rivers, the ancient ones, that flow
below the Market
guiding death beyond the gates

humans, we are
space our mother/father - Earth our driving wheel, and ghost and spirit
our screams

there is an old owl-shaped
neon sign in the jungle, where the blocks meet the soil on which
crocodiles feast, deep below the city, below the river even
o the story and glory of daze

they still sing, in unison
where all they per-form is noted duly, in the scripts of the veil beyond
the green UFO screens of dusk

there is something cooking here, entirely baked and origin
where dharma sleeps, I wake from my slumber, origin, origin
and I bathe in the sky and wear stars on my cheeks

there she sometimes wakes up, radiant in silk patterns
to kiss the stars and scream of Aztec bungalows
whenever we construct them again

each yawn a blessing, a trace of form
form form
per-form

Sunday, January 1, 2023

"Kapelusz Buntownika" - polskie wiersze, 2009/2010.

Spokój

Cenię spokój… wypluwam kawałki zębów
resztki połamanego winylu
rozprawiam się z bestią
na kuchennym krześle
stroję banjo i uśmiecham się do zdjęcia
Amerykańskiej Poetki
robię kawę – śmierdzi benzyną, miasto
wtłacza się w żyły, pompka-pająk
rozbłyska zimnym elektrycznym światłem
kładąc cień na twarzy za oknem
gigantyczne oko zbiera dowody
szaleństwa – przeszukuje kartoteki
oddziały zamknięte
sterty pożółkłych notatników
cenię spokój… liczę kropli krwi
na meblościance

Emerytowany kurz

Nieznane flotylle wśród czarnej pszenicy
szerokoskrzydłe cygarniczki uśmiechu
teksańskie, nieśmiertelne panny, lśniące w kotarach handlu
stary statek, ponury towarzysz
obciążających myśli… rozbija powoli towarzystwo
groźnym wyrazem spadochronów
na wariackim powietrzu
ciała Indonezji skąpane w atramencie
policyjna rzeźba, tłumy w marmurze
odchodzą – emerytowany kurz

Cegła

Dobijam trumnę kolejnym papierosem
dokarmiam gołębie flakami duszy
śpię pod łuską skruszonej cegły, dobieram
kolory świtu, wydycham spaliny, wciągam brzuch
liczę na ostatni, trafny manewr – skalpelem mierzę
miasto, modlę się u stóp kamiennego Buddy
wliczonego w napiwek, skruszonego milczeniem
jak cegła, czytam kolejną książkę, kupuję kolejną
składankę Lennona, zadowalam się tanią bibułką
zawinę w nią nuty, odarte z bezdroży, pięknie
wypolerowane ciszą, prorocy nie muszą już
pisać po murach, nie muszą niewinni stawać
przed ogniem karabinów, rozprawiać o zmierzchu
z cichymi damami, szkolonymi w zasadach poezji
kuriozach dobrego smaku… nie muszą już nic,
nie musi już nikt…

Kapelusz buntownika

Fragment kapelusza kobiety
przetrawia zdawkowo pył
i cegły
wypluwa
słomkowy świt
spija powoli całuny gwiazd
z warg sromowych
nieba
zbierając miasto
we fragment pomnika
wschodnio-berlińskiego
getta
karmiąc szczury
choinką
śpiewa Dean Reed
i wszystko w porządku
po tej stronie
buntu

Tacos

Jest druga
wypaliłem już wszystkie skręty
ślad nie został po koktajlowym zespole
w głośnikach wciąż pada deszcz
i kojot drży na wietrze
zupełnie jak w japońskiej
powieści
jemy winogrona, tańczymy w piasku
piszemy papierowe listy
i nic nie jest japońskie
winyl trzeszczy, to prawie jak
kominek
i wino się nigdy nie kończy
zaśpiewamy jeszcze kilka niemieckich piosenek
zadzwonię do wydawcy
zerżnę cię dwa razy
zapalę papierosa
a potem pójdziemy na tacos

Graal

Jezus Chrystus urodził się w Lancaster, New Hampshire
z 33-letniego ojca
w drewnianej chacie bez wody i prądu
która nocą zapadała
w absolutną ciszę
była to sceneria
odpowiednia dla Mesjasza
matka zmieniła mu imię,
ale on i tak pozostał
małoletnim transwestytą
handlował prochami,
kradł
i włamywał się do porządnych
białych domów
grając na perkusji
“Jezusa w Nowym Jorku”
wkrótce nadeszli
teksańscy naziści
i narodziła się
córka
Graal pełen country
seksu
i Jima Beama
o którym nigdy
mieliśmy już
nie usłyszeć

2012-07-29: "Eastern Bananas" (poetry suite).

Bullshit

I keep having that flashback
child on a viaduct cracked from sunflowers
under a red star, dreaming
of concrete landscapes shifting
factories caving in
smokestacks falling
proud blocks giving way
to the forest
the child erecting its eyes
to a new pedestal, one its parents
didn’t live to see – though they didn’t even
die – they simply vanished
but now the sun is shining
free radio’s playing music
through simple headphones
chants of freedom erase
equal slogans, make room
for love, replacing blades of unity
sole party, now dismembered, looks through the cracks
at sunflowers calling bees
to create simple food
out of nothing
for the masses to feast on
it invested in arms much too long
embracing too many people
let them finally
have a taste of freedom
before the new oppressor comes around
was this child even me?
I remember vanishing too, around 1989
with the last wave of protest
too loud to resist much longer
I was drinking bold juices
of West, back then
waving banana machine guns
I keep having that flashback
my drinking pals call the devil
I know it’s just a mirage
dead, misleading image
though from my father’s LPs
I learned of many fine people
creating in those sad cold ages, too bad
they didn’t have the context
their western contemporaries lived in
and taken out of our context
all they and we ever did
was bullshit

Last Candle

we’ll melt that last candle, I promise,
it’s a trip to the sun, no less,
amazing feature, silver screen creature
you’re the prettiest one, I took you with
me, everywhere I went, I’m sorry for the
people you had to meet, but time is golden
and gold is power, and I haven’t done
anything yet to acquire
whatever it takes for success, success
is an empty page, but folks
believed me, and now I’ve got
debts I once was free of, I promise, it’s a trip
to the south where we’ll watch African
moons rise over rootsy backdrops
and I’ll never rhyme again, unless it
makes me some dollar, unless it takes
me back home, when we both were
adorable children, favorites of our
families, but since then I’ve become
outcast poet, and you’ve been inspiration
to many, in many bedrooms, waking up
the monsoon that lies beside me
feels good, but I know it’s not mine
though time will come to cruise
that last stony night, from then on it will be
perfect golden daybreaks, clouds
serving grapefruit tea, white coffee
with freshly picked snowflakes,
we’ll reside in that last
free island, perhaps we’ll find that
lost particle, launch further expeditions
if only you decide to stay somewhere
the free spirit you are
I might finally join you, can’t you see
you’ve made my boots weary
and they won’t lead me naked
stoned and dazed forever
thru a palace of childhood you try hard
to envision
I’m pretty sure there’s no such thing
as a palace, it’s more of a park
but by loose definition
and most certainly not where we landed
I promised a trip to the sun
no cheap ersatz will do
though I’m sure you already
feel golden, always free
from connections

Side Streets

without trips, drunk alone
the next line should be something
that ends with cobblestone
routine kicks in, or it’s only
the sound of silence,
anyway I don’t believe I’m special
same feelings as you
same flesh and spirit
perhaps mine is easily locked
in a bottle, that’s why I’m
drinking alone, after another
idiot’s day, the next line should end
with something that says “stay”, preceded
with please, but I knew she wouldn’t, so here
I am with my guitar, trying to write
a song, but the chords are messed up
and I’m a funny guy with no job
who pretends he’s really
acting, maybe that’s why the last
line should say distracted
haven’t felt that low since I landed
here, here is Paris, 2 A.M.
looking outside my window
I see couples sharing the street
but there’s no one I know outside
so there’s no need to move
and as I find another needle, I guess
the chorus might need a fiddler
or the intro, some sad East European
notes, did you know that every country
has a blue note of its own? ours is played by the
war drum, awakening our women
frightening last survivors, it beats
across the border, every time a child
is born in enemy’s city
we weep, without tears
but you better stick to songs, this last
dialogue should end with “wrong”
or “war is wrong”, but I’m shooting
junk in a dirty hotel room that remembers
both wars, then Korea, Vietnam and everything,
not even knowing who I am
except that this girl came to teach me
how it’s like to be alone
in a city of a million friends
that’ll forget your grave
once you slip over its
side streets

Reputation

you’ve got to earn your reputation
write everywhere
live the day with inkaust roses
blooming in the rearview mirror
fall asleep with death by your side
in the same dirty bed
where you screwed her first, midnight jazz
pumping wild, limitless, into the
coma of sunrise, where your first
words were written, screamed
against the hospital confinement
later nursery, school and prison
still you scream, to earn your reputation
poems are bread, life is the coffee
take a bite, sip the enlightenment
cup by cup, slice after slice
don’t feed it to birds, they’d die
from the exhaustion, unlike you
they still need the power to fly
they’re not confined, unless you count
the bright blue dome, cliché turning
wheel, advertising sign
whose reputation were you living?
does it really matter?
the only question is open books
in the chimney, pistols in the bathtub
shooting sterile tiles, in another
hospital, old, either going mad, or expecting
another child – you’re no one
until you prove your infection
once you do that, you’re healed
back to society
living on prescriptions, shooting sure
shadows at sundown, talking to the
omnipresent priest, arranging
your wedding, once you’re sure
you made it, the world will make you happy
whether you like it or not
you’ll become the fragment
everybody wanted
canned supermarket sun
baby in the cart
whether sold or stolen
it doesn’t really matter
when the graveyard shift
yawns back
at the awakening city

Kid with a Radio

I sat by the radio at night
never was conscious in school
the next day, dreaming of an
autumn Sunday, writing
lyrics, recording
music I then called obscure
from times I can’t remember
times I’ll never live in
filling up the dark, dimming
lights for love, I never had
a friend, but transistor lights
and oceans, though all we really had
was sea, fishermen telling legends
of a frozen passage
I listened to them, vacationing along
wishing I was back in school
so I could write in chemistry notebooks
sketches of a future song
I wrote down riffs, made notes
on song structures, was humming
imaginary refrains, I never thought
I’ll make it, but I kept streaming
phasing through the ether
clouding with the night wind
morphing with the currents
and so they took me – to far off
lands I never thought existed
with hungry girls that never
really knew me, anyway, the pearls
kept falling from their stylish neckties
jewelry, necklaces, all they ever wanted
I bought them, risking my breakfast
but hey, I don’t regret getting thin
especially in Berlin, where I’ve heard
they’ve got the best scene – bullshit,
they’ve got fat fingers
purging through the madness
urging with the rubble
same thing every town
wrapped in wallpapers
damned boys
who wish they were as young as me
still willing to change
especially myself
still willing to run
not from, but against the system

British of Me

sadly
I lost track
of some memories, I no longer
blaze them
with a chewing gum torch
and carry them through the
main square
things became simpler, I no
longer need them, so I let
them pass
people will love me, those
who always did, no need
to smile back again
encountering loss
grief, despair, I’m flying now
where no eye flares
no fire ever rages
it’s oddly calm, on this cloud
I’ve packed my sorrows
in thunders, let’s let them roll
all night, until they’re full
feasting on trees
I climbed as a child
looking at forests
that once proudly grew here
back into tears of the spider
weaving his clear-cut sunweb
who am I to see this
let alone do it – I mean gazing
at eternity, which is not the
dark void
some sad monks want it
to be, rather a flash of steam
from the first train rolling
down American shores
the undiscovered continent
waits to shed the green skin
succumb to steel brave sunrise
forged by ugly children
who thought they’d found their
paradise – things are not what they seem,
and I am on a war path
years have taught them nothing
but pillage and murder
addictions and diseases
let me drink my tea
so British of me, darling

It Must Be Spain

I think I’ll try write down
anything different
from what I usually read
in so-called rebels’ books
private editions, limited print runs
obituaries in flesh – their words, as mine so far,
were ordinary, we used
same dictionaries, obviously
speaking different tongues
all sadly flat,
they probably thought we’re
the same, midnight beatnik daredevils
haunting suicide bridges
documenting the road
but then something struck me
and I moved away, no longer
insane, I exited stage
realizing we all write equal
as musicians we’ve scales
to stick to, we’ve got the margins
of sky, we can bend the rules
but never change them
we write the same,
no matter our history
so why we feel the need
to memorize our lives
as if they were essential
reading, no worries,
someone does that for us
not in earthly books
but on bronze literal columns, in
heaven, in invisible ink
and virgin kisses
where no words are laughable
imitable, combustible
and no publisher decides
what slogan should he stick
to your forehead
no writer writes you, no reader
reads you, no one is really
famous, but all the lines
are there, photographed
right down where we left them
you say it must be asylum
wings of failure bought you
I think it must be Spain
cause everything smells
so nice

Comprehended

at times I think
there’s a Buddha speaking
thru me, but thankfully
I put me back to ground
with casual smoke rings
irresistible neons
sleazy bars
proving there’s nothing
inside me, not even winds
howling thru abandoned
districts, in the town
where I was born, in cities
I lived thru, trams
going nowhere, shades
of people thumping
the sun, at times I think
it shines, like the moon,
in reflected light, but
speedily, stars cut me to size
I’m not like those people
and there’s not even nothingness
inside me, just biology
reproducing, endlessly searching
for meaning where there’s only
a road sign on a half-finished highway
saying “this” or “that” way, to my
half-finished journey
I haven’t even begun
who was I before coming down
on this world
on a pitiful drunken Sunday
my first Satori train
stopped at the wrong station
slicing thru sky
that dawns on my brain
like a twinkling bird of rebirth
flashing with the summer
on wings no human bought
no Buddha
comprehended

2012-10-26 - "Belle-Age"

yellow noise, sorry, the concert?
she crossed her legs
should I take the other train?
stage-fright papa
slowed her down
& watched spectators’ hate hands digging
just like a schoolboy

glass turned to birds
killing have seens, join inn, an ill-tempered house
brave touching day plays
her thereabouts, young bodily
train loves
turned-down a collar, either she or what slightly poor
made of it, don't be a quit, put me, unseeing, thru one yellow sound
& mother gallery, fixing my teeth, I to I,
or were much of these sounds whereas…

thick set old silence
mellow beauty
plays violins
seemingly belonging
to rushed or speedy people
disliking the voice within

but who has the patience to be that beautiful?
gulping quivering breakfasts
luminousness wrapped violent

many idiots take earth cabs, but
women don't laugh, using the bridge,
they paused own personality, of
beautiful interest, observed by intimates
behold! two poor angels, they say yes, we’ll come shortly
won’t be longer than creeping on debts
ladies hug what’s left of the value
of Wedding
no sensitive form whereas…

"Suicide City" (2010).

I opened my veins
And the city fell out of them
Block by block it went rolling
Touching my hands
Star after star it went crashing
Pinned to the stairs
Opening in giant wings
Smog and storm filled air

I’ve seen it rising, being born
Don’t know how to call
This suicide of creation
Exploding red walls
Out of my blood and ash
Of the evening sky
Another city was built
Another tiny man died

Bricks of life took form
In sands of dark dunes
Rolls of film filled the streets
With nocturnal perfume
Center found its way
Thru ladders of grass
Dripping down with the sunset
Cutting the rest

[gelöscht] - VERFÜHRERVERGELTER

If battery powered blackened electronics and raw ambient melancholia from Potsdam, Germany, sounds like something for you, why not go deep into the world of VERFÜHRERVERGELTER with this brand new album, "Gelöscht".

"Gelöscht" means deleted. Deleted from memory, from life, from death, from form - but still alive somewhere, on another plane of existence and sound, if "alive" is the correct word when describing death industrial.

But, don't let the genre narrowmindness get you - in the 9 untitled tracks (including intro) that comprise
"Gelöscht" there is lots of more colors and flavors one would expect from industrial or from ambient.

Yes, I have a problem with "industrial music" and "ambient" in the XXIst century, as they drift dangerously into pop and techno zones. But right here,
VERFÜHRERVERGELTER comes to the rescue.

Instead of the "techno umpa-umpa" of modern "industrial" and "lo-fi chill beats" of "ambient", we get landscapes of Kluster-like meanders, early BBC experiments, noise, improvised music, Italian futurism, and modern electroacoustica experiments. I have visited Potsdam at least twice, and I can also hear lots of Potsdam in the LP. If you have ever been to Potsdam, I feel you'll appreciate the LP on another level as well. It's elegant as the location it was recorded in, and the cover artwork.

The album is also really solid, coherent, well thought and performed and recorded/produced - this is exactly the kind of sound I think of when imagining "industrial". I don't know how
VERFÜHRERVERGELTER does it, but the album is not only dark and menacing, but also beautiful. I think the strength of this release lies in the contrast of beauty and the beast, the common archetype in art, but here executed perfectly and with a knowing of craft, structure, lack of structure, and tradition. It's modern and ancient, dark and radiant.

I recommend this album to everyone who's into experimental music, not only industrial or ambient - and this has been my first review of an album in 7 years - I never thought I'll do "music journalism" again after writing for Psychosonda 2014-2015. Maybe it's not even a "real review" just a note to accentuate the release and help
VERFÜHRERVERGELTER get some well-deserved exposure in the www world.

To summarize this note, or review, I'd like to present a bit of text from the Artist himself, where he explains the creation of "Deleted":

"I had to find a way to put the unspeakable into words. This is how I did it. I recorded this Album in the first half of 2022 and finished it in August 2022. At the beginning I just tried to recreate to sound of my first Demo. But after one-too-many recording sessions, I realized that this wouldn’t satisfy me. What I had so far was dark and intense. I tried to get to the source of that sound and found a locked room inside me. The songs of [gelöscht] are my interpretation of what is hidden away in that place. What has no name, what hides away from description. What is deleted but still acting and affecting me in my life."

Yes, it's impossible to delete existence. Enjoy the sound of
[gelöscht].

1998-2023 - 25 Years of Poetry, Music, and Noise.

In 1998 I started recording first cassettes. It was just teenage improvised noise. I used a classical guitar, Casio MA-120 organ, and Luna 2 bass guitar. I was also writing some poetry in Polish, but not very good, and all the notebooks I kept got trashed in 2002 or so. I searched for the tapes recently though, as I figured out listening to them after 25 years might be quite an experience, but it turned out I lost the tapes too. Oh well, probably just teenage improvised noise with no other value than sentimental whatsoever.

In 2000, my Mother took me to Berlin. I stayed at Johann Gottlob von Wrochem’s house. Mr. Wrochem was a German pianist and composer and he had a huge library. And so, inspired by all of his books, I started writing my first song lyrics. The first song I ever wrote, back in August 2000, was “Child of God” inspired by Soundgarden and Black Sabbath.

In 2002 I met Mateusz Nowicki, who played bass guitar, organ, and sang a bit. We started a band in the Górczyn high rise, and that's when my adventure with conscious music creation began - writing lyrics, guitar riffs, vocal melodies, solos. I was 17. We also played covers of Hawkwind, Black Sabbath, UFO, Amon Duul II, Pink Floyd. We wanted to be a psychedelic-heavy-metal creation from Górczyn.

In 2004 I started my noise/ambient/drone project Die Rote Erde, which was a continuation of my original 1998 path, not a progress from the songwriting rock'n'roll days with Mateusz. You can listen to Die Rote Erde at http://dieroteerde.bandcamp.com. I still have the first 2004 CD-R, but as of now, it's unavailable on the www.

In 2005 I started writing songs again, inspired by Lou Reed, Leonard Cohen, Bob Dylan, and Syd Barrett. Syd and Lou were my favorites ever since I started recording cassettes in 1998, having heard "Live MCMXCIII" by the Velvet Underground and the first Pink Floyd LP in that year. I recorded some of my songs on CD-Rs and distributed them among my friends, but in 2007 the adventure was more or less over, after I discovered arranger keyboards, and started drifting dangerously in a Wesley Willis-oriented direction.

In 2008, I have published my first poetry chapbook under the pen name A.J. Kaufmann. It was called "Siva in Rags", and this is what the publisher had to say about it back then: "Like a poetic love child of Gregory Corso and Patti Smith, a child who was left to grow up in Western Poland and is only now checking out the larger world looking to reconnect with his parents, Polish beat-poet A. J. KAUFMANN has broken onto the international poetry scene in the last year, appearing in many of the best online literary journals and also starting his own kick-ass online journal, EVISCERATOR HEAVEN. An experimentalist in the best sense of that word (someone who experiments with form, looking for a new form for each work, not someone who is incoherent for incoherence’s sake), Kaufmann has taken the inspiration of Burroughs, Corso, Dylan, Leonard Cohen, Richard Hell, etc. and used these authors as a springboard to blast him into his own poetic stratosphere, one that’s fresh and original and alive on the page. What a refreshing change of pace to find someone who is pursuing new paths in the visionary tradition of the Beats."

In 2009-2011, I've been busy recording my debut studio album, "Second Hand Man", released under the A.J. Kaufmann pseudonym. 2009-2010 were demo times, and 2010-2011 the proper album recordings in Andrzej Mikołajczak's (RIP my Friend) home studio A.Mix. The album was released on October 1 2011 on vinyl and CD. It is still available on Discogs.

In 2012-2014, I've been busy recording my second album, "Stoned Gypsy Wanderer", also released under the A.J. Kaufmann pseudonym. The album was released on October 17 2014 on CD-R, and reissued on vinyl with Ramble Records on August 2 2021. It is available worldwide on vinyl as I write this.

In 2015-2019, I've been busy home-recording. There were not many official releases during these years. I remember releasing "Escape from Hekate" (as Adam Jan) for Gerpfast Kolektif Indonesia (on limited cassette) in 2017, playing live with Sweter Band on Statek Kultury (a boat of culture in the middle of the Oder river)... recording lots of home demos and writing new songs. in 2019, my third physical album, "Hippie", was released with the Italian label TIBProd. Italy. The CD is currently unavailable, but you can easily grab the album in digital/streaming formats, and it has also been posted to YouTube by Psychedelic Angel. Also in 2019, I undertook the ambitious "Astrea" sessions project, and 2 albums from the sessions have been released in later years.

In 2020-2022, I've been focusing on experimental, improvised, electronic, and electroacoustic music. But, I did not forget about psychedelic music, punk, and noise rock. I've been releasing both experimental electroacoustic albums (see http://adammajdeckijanicki.bandcamp.com), and psych rock and folk and poetry and punk (see http://ajkaufmann.bandcamp.com). In 2021 I got signed by The Swamp Records (USA), delivering the best in heavy underground, ran by the amazing Fuzzy Cracklins. I also released "Eimi", praised by Maurizio Bianchi himself. 2020-2022 were definitely the best years of my life so far.

So, looking forward to 2023 - I already have a new album confirmed with Muteant Sounds Netlabel for April 21 2023, and am also discussing an album with my old friend ("Eimi") Nicolas Tourney. I am also looking forward to working with another new (for me) label. Happy New Year 2023, and thank you for flying with me.