Sarmacja’s sophomore album ‘Jazda Polska’ follows up on their 2018 debut on Astigmatic Records. The latest album was released by London-based label Byrd Out. Above all there is dub on it – however unorthodox – originally captured. Mystical flow, reckless charges and joyful songs – all without restraint and with uhlan fantasy.

“Dub is the source.”

The spirit of a holy madman in the sarmatian version hovers over the record – the one who after a few glasses of vodka, covered with gasoline fragrance from the barbecue – once being moved, telling about the misery of the nation, and a moment after falling into ecstasy of stories about bravery in battles. Then in anger – when reminding himself how much the neighbour’s diesel burns. Bottom line is simple – having fun, especially until dawn. And even if the stories of the holy madman are slightly slacked, even if at times the vibe gets gloomy, and the story isn’t fully true – who cares?

‘Jazda Polska’ got even more colors thanks to the excellent features of Kacha Kowalczyk known from Coals and Muka. She appeared in two songs on the album – ‘Doktor Słowo’ & ‘Karaoke Dub’.

The Orb made a remix of ‘Olimpijczyk’ to end the LP, commenting on Byrd Out’s suggestion of doing a remix “Sounds weird enough”, and The Orb’s ‘Oak Island Remix’ has a quintessentially Orb feel. ‘The Oak Island’ reference is a nod to the Knights Templars link to the Money Pit on Oak Island, Nova Scotia.

Sarmacja live at Festiwal ¿Underground/Independent? 2020 by Radek Kamiński

Sarmacja is Paweł Bartnik, Michał Kołowacik and (now also) Aleksandra Szalińska aka. FLicker Fox, musicians operating at the forefront of the Polish experimental scene.

Would you like to talk a bit about your background?

Sarmacja: Originally, we are sound engineers and music producers. Our previous solo work was based on exploration and finding interesting details on slightly forgotten territory of the right balance. Michał studied sound engineering and a few years ago focused on the audio and media technology more, using his experience from live sound and studio work. Paweł also works at Heavyweight.pro, providing mix and mastering services globally. Both of us observe the pro audio industry as enthusiast, which also seems to bring something to the table.

Are any of you involved in any other bands or do you have any active side-projects going on at this point?

Sarmacja: Apart from the solo work as Echo Deal, Mike also works on some occasional collaborative projects like Hajabuza, or provides music to other artists, including Flowdan and Polish storyteller Pablopavo. Paweł works with kIRk, constantly evolving band.

Michal, you’re a producer. Would you like to share a few words about your production work?

Michał Kołowacik: Echo Deal is solo work based on sound design and exploration. It started around 2012 when during my DJing times I decided to focus on sound engineering and finding my own sound. It started with producing jungle and dubstep oriented tracks with Polish and US vocalists at first, and then evolved into more personal vibe. These genres weren’t too common here at the time, so it was a challenge to have some collaboration happen, but it was definitely a fun time. Even when I DJ now and then, my approach is similar to dub workflow in terms of processing & effects. I like to have impact on the original source to give it my touch when needed. In 2014 I recorded ‘Totem‘ EP, featuring jazz clarinet player Jerzy Mazzoll, Warsaw storyteller Pablopavo, Olgierd Dokalski on trumpet, Zbigniew Chojnacki on accordion and Jan Wierzbicki on bass. I created raw sketches which were the base for free improv sessions with musicians. Then the tracks became final with arrangement rooted in the improvisation. I wanted guest musicians to both lead and react to the initial compositions. The last album ‘Baron‘ was released in 2018 by audiovisual group Prime Mansion. This album was a trip to the classic urban electronic vibes. I was using more distortion and filters to make the dub happen. In contrast to ‘Totem’, this one is a completely solo album, mastered by Paweł at heavyweight.pro Video for ‘Taniec Łuku’ was prepared by Daniel Gontarczyk at Prime Mansion.

Currently I am working on my new LP called ‘Deszczowe Pole’ (Rainy Field), which is a step towards ascetic composition, soaked in dub and starts with organic approach to electronic music. Some time ago I started to use more acoustic instruments and my own voice, which helps me to get to the point of what I need with better confidence. Separately, I started my fairy tales / field recording idea to bring some serenity to listeners. It starts with a book and music album for kids, families and contemporary therapy. I’m linking both natural sources and musical elements with the vocal and storytelling parts.

Paweł, you’re a member of kIRk, a very interesting project. Would you like to share a few words about it?

Paweł Bartnik: kIRk is a project who has something like… 17-18 years now? It all started in my hometown Plock with two folks – Karol and Lukasz. It was all about techno and we did some imprints for techno labels in Europe, played in Tresor and Polish clubs. Then I moved to Warsaw, met new people and we changed our sound. My folks have left the band. For a decade or so kIRk was improvising, noir electronic band which core was Filip Kalinowski, Olgierd Dokalski and me. Then Antonina Nowacka came. We recorded several LPs, played maaaany gigs. Last update of kIRk includes three people – Olgierd Dokalski on trumpet, Stanisław Matys of duduk (Armenian flute) and me on electronics. In that constellation brasses work as “first instance” and I’m the second one. I’m taking their sound into my electronics and processing it live – looping, sending one to another etc. It’s kind of advanced dubmastering as I’m not producing, not using synths or samples anymore.

How did you two come together to form Sarmacja?

Olgierd Dokalski, who plays trumpet in kIRk was also invited for Echo Deal ‘Totem’ EP. Before moving forward with live shows of this album, Olgierd contacted us and it came out we lived in towns nearby. We met and here we are now. Currently Sarmacja is a trio – Aleksandra Szalińska (FLicker Fox) joined us in 2019 and we work on the next releases together.

“On every release the emotions have different colours.”

Is there a certain concept behind it?

For us, it was originally about feeling good about where we are from and embracing the natural vibe of our places, on ‘Tutejsi’ we also had a story to tell about “local people”, having so much in common and carrying weight of the place. As expected, the idea evolves and on every release the emotions have different colours.

Your first release, ‘Taxi‘ ‎was released three years ago. ‘Tutejsi‘ followed on Astigmatic Records. How would you describe your sound?

Dub is the source. We see it as function and approach. Not in a stylistic way, more in an unorthodox perspective of using what’s the best for a specific track. We are focused on finding the right tone from track to track basis, getting funky with it. ‘Taxi’ was a follow up to classical hip hop but only to that. We just had a specific twist of ideas and this is how we took the road. ‘Tutejsi’ is more grimey, but also gives a perspective on the contrast of outskirts and landscapes.

What does the name “Sarmacja” refer to in the context of the band name?

Sarmacja is a myth about the extraordinary heritage of Polish people, having a special task to be done. It is more about inborn uniqueness with no particular source other than being here and now, giving more contrast than it probably should. Polish people have some traits, especially seen on parties or family meetings. Apart from a bit chilly approach at first and expectation to buy in with the right sense of humour and character, it is also about how rich and scary these traits can be at the same time. Emotional but naïve, proud but jealous, noble but street-smart. Now try to figure out why and how it is possible.

Can you share some further details how your latest album ‘Jazda Polska’ was recorded?

Mostly the sketches were gathered and selected before ‘Tutejsi’ were even released. Most of the tracks start with a remote work – one of us prepare the sketch and we discuss it, leave it for some time and get back to it when the time comes.

<a href="https://byrdout.bandcamp.com/album/jazda-polska">Jazda Polska by Sarmacja</a>

Finally, we set up a session, during which we make the most of the work and give the right vibe to the album. We tend to give music some rest and then have different perspective to see if there is something to reduce.