Robert Piotrowicz - Euzebio (2019)

The body of Euzebio was found all covered in mud. Small devices attached to his limbs were soaked in water but still produced some sounds — neither of speech, nor of the humming spong. Suddenly, when some toad or a redstart slurped, he got up suddenly, and everything started again.”
Mircea Eliade, Euzebio, The Man Who Did Not Exist, Yet Still Shook The Forest


The new album by Robert Piotrowicz does not fit any category. What this multicoloured electronic instrumentation aims to channel is the acoustic experience and energy of the performing musician. As a result of a wide range of creative means used, the narrative language of the compositions bursts with tension and mystery.
The album includes slow hypnotic passages of stone electronics (“To Fleh”), vigorous tempos and circular repetitions (“Euzo Found Gitar”), sprawling artificial soundscapes, back-to-origins ethnicity (ethnical subsoil and elements) liberated from any geographical identity (“Ocarina Wars”), as well as dreamlike minimalism with unpretentious cinematographic traits (“Flares Et Wasser Hole”). Some of these unusual melodic patterns may resemble the corporality of the animal throat rather than any human-created instrument (“Electros Spong”).
Although Euzebio was recorded with synths, the final shape of individual tracks and the album’s overall acoustic image go far beyond any electronic genre. The instruments have not become a goal in itself. They were merely a building block, a tool that helped achieve the album’s extended structure - a diverse whole with rich spatial features.

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When repeating that what is not perfect, Euzebio is never tainted by a routine. He makes a risky and flamboyant creative gesture without any hesitation, because he knows that if he repeats his gestures long enough, he will succeed. Ubiquitous corporal multiplication is based on a community-shared phantasm which produces an interiorized narrative.
By finding the guitar or creating the spong, impulsive Euzebio avoids being trapped in easy references and does not seek his opportunities in eclectic rock or equatorial drumming. You can almost hear him fleeing, sometimes drenched in code. During their sound rituals, communities competing for the Spong of the Year synthesize a scenery of fictional villages. When dozing off in a shack, Euzebio himself becomes a scenery of the self-transforming body that strives to fill space in an unstoppable, omni-intimate movement.