His 2020 album, Music For Films, marks the naturally-occurring intersection of his identities as a solo artist and a film score artist. The collection is now sequenced and released as a single autonomic movement.
Two tracks originated from the 2019 documentary He Dreams of Giants; another was first used in 2008 project Golgota wrocławska. Context removed, they fuse seamlessly; ten years time between some recordings, erased.
A visceral dynamism emerges here with a relatively restricted palette of sounds. Music moves in measured steps, inconspicuous yet holding attention. Opener The Zone is curious and brittle, crawling on keys and a foundational bass thump as strings seep beneath in a raspy hush. Centerpiece Dance folds into an ominous and molasses-slow trot through minor chords, spacious percussion, and static, all under the spell of a mournful violin lead. Windswept vocals haunt Liina from a distance, while they sink deeply into orchestral closer November Late. Jacaszek’s work is that of an auteur; he has signatures that he uses faithfully and with much aplomb. Listeners can expect subtle gesture and baroque grandeur on Music For Films: soaring melodies cloaked in reverberation, delicate piano ruminations, and textural craftwork capable of creating and disrupting motifs, smothering and enchanting minds.