Dance Music
Seeps into Poland
From the end of WWII until 1989, Poland was ruled by a communist regime hostile to any Western cultural influence. Electronic dance music was no exception, treated as a fruit of moral decay and banished from state media (and there was no other media!). That's why it was almost non-existent until 1989. But there were a few pioneers who managed to sneak past the censors...
...a new genre,
was born.
The Polish Radio
‘The temporary liberalisation of political life in Poland
in October 1956 (called the Polish October, or Gomułka’s
Thaw) brought with it the establishment of the Polish Radio
Experimental Studio. The event was no less than a unique
phenomenon for this part of Europe. Ahead of Stockholm
and many other centres of music which would establish
electronic workshops in the 60s, Poland became an
outpost for electroacoustic music.’
Marek Zwyrzykowski, Polish Radio journalist
The First
Polish Electronic
In the late 1970s, the popularisation of portable synthesizers and personal computers resulted in a new group of musicians being able to create electronic music. Unlike their predecessors from the Polish Radio Experimental Studio, they were inspired by non-classical music, such as that of Tangerine Dream or Jean Michelle Jarre. This gave birth to a new genre: el-muzyka.
to Ambient
The very first traces of Polish electronic dance music date back not to the 1970s but to the very late 1980s. In 1985, Polish post-punk band Bexa Lala started introducing electronics into their songs, creating experimental ambient influenced suites.
and House
on Full Throttle
In 1989 and 1990, Eastern Europe was finally emancipated from the yoke of the Soviet Union. In Poland, democracy gradually took power, and in Germany, the wall dividing the country (and Berlin) was demolished. At that moment, the vivid, trance-like and hedonistic music from Detroit known as techno turned out to be the perfect soundtrack for the generation of youths coming out of an era of stagnation and overwhelming state control.
There was no freedom, there was frustration. When
the wall came down, techno arrived in Berlin. In
1990, 1991, 1992, the authorities were not interested
in what we are doing. There was this feeling: ‘Hey, we
can do whatever we want!’. The avalanche started and
we went from a couple of hundred to about ten
thousand people in one year.
The Story Of Tresor by Tilmann Künze
Techno arrives
in Poland
The aura of spontaneity was present in Warsaw as well. Thanks to the new freedom to import music, DJs could buy vinyl records abroad, and it meant they started spinning all the new genres, non-existent in Poland until then: hip hop, trance, jungle, breakbeat, etc.
Jacek & Maciej
Two of the kids amazed by this wave of new music were Maciej and Jacek Sienkiewicz. They started from scratch with almost no gear, a limited number of records and hardly any clubs ready to host a rave. Even though their careers went separate ways, they both remember those times as something absolutely pure and exceptional.
“Back in the day,
when I was starting,
everything was natural
and spontaneous, people
used to have fun and
really devote
themselves to music.
Then commercialisation
did its job...”
“We would play all sorts
of stuff. At that time we
had a few hundred
people raving every
Saturday until 8am to
all sorts of music, from
through to heavy rock.
Anything went
down smoothly.”

The burgeoning Polish electronic music scene had also a leading female pioneer – Katarzyna ‘Novika’ Nowicka. Just like Jacek Sienkiewicz, she was in her twenties in the mid-1990s and became totally absorbed by the new music. She started her career as a vocalist, joining DJ collective Boogie Mafia during their live acts, but soon moving to DJing in chill out rooms to eventually become a pioneer of alternative, electronic-influenced pop and one of the most successful electronic music popularisers of all time.
Are back
Polish Electronic Music Starts
Making Noise Abroad
The obvious thing about electronic music is its strong link with the culture of those black discs. First of all, it’s about the DJs playing all-vinyl sets, but also about the audiophiles and music lovers who want to indulge themselves with music of the finest analogue quality.
That Overcame
the Biggest
The beginnings of the vinyl revival in Poland were obviously not easy, but all the initial difficulties were gradually overcome by the intrinsic will of idealists who spared no effort to restore vinyl culture. Nowadays, things are in full bloom and vinyl records have become standard for more demanding listeners. All the electronic music labels press limited editions of their releases on vinyl and numerous re-issues of classic albums are being published as well.
Sampling Becomes
the Polish
Weapon of Choice
This duo, originally from Wrocław (one of the biggest cities in the south of Poland), is not only one of the most important contemporary acts in Polish electronic music but also one which made a milestone step for Polish sample-based music and the whole digger community. The music they created was so strong and surprising that in 2003 they signed a recording contract with Ninja Tune, the genre's most prestigious label at that time.
Catz ’N Dogz:
From Casual DJs
To An Institution
Catz ‘N Dogz (AKA Deeop and Ketiov, or 3 Channels) started to conquer the world in 2003 from their hometown of Szczecin. Step by step, they made their way onto the most prestigious underground dance music labels all over the world and creating one of their own – Pets Recordings.
Pets Recordings:
More than just
another dance
In 2010, Polish producer duo Catz ’N Dogz decided to start an imprint to promote their new sound. Its name was Pets Recordings. The output was immediately refreshing, charming and arresting, and the mission from the start was to push music they loved, regardless of whether it would sell or not. They didn’t want to be just another dance label. And they’re certainly not.
Right now, the international emergence of Polish underground dance music is a fact. Polish-based labels such as Pets Recordings, Recognition Records, Transatlantyk, The Very Polish Cut Outs, Father And Son Records And Tapes,
U Know Me Records and S1 Warsaw are at the top of
their game and their releases have started making some serious waves abroad.
Electronic Music
is Thriving
We are witnessing the formation of a strong group of artists that is even believed in some circles to have brought the ‘Polish factor’ to electronic music, a thing very hard to define but at the same time a phenomenon that draws the attention of international media.
‘But there’s (…) a real confidence, which manifests
itself in all sorts of art forms in Poland. You also
don’t feel that Polish electronic musicians are just
copying styles imported from the US or UK.
They have their own voice, which is part of
a long and complex history of music in
this country.’
The British magazine
Juno Plus
Side One not only
affects taste. It is still
a place where you can
learn about stuff
happening in town.
Groh, co-founder of
U Know Me Records
One of Europe’s
10 best record
Every DJ and producer community has its main spot, a place where they meet, discuss and listen to new records, and exchange ideas. Since 2005, a tiny record shop hidden in the backyard of a pre-war tenement house has played that role in Warsaw: Side One.
S1 Warsaw
Side One’s 10th
In 2012, Rafał Grobel, Boiler Room Poland’s promoter and a long-time friend of Side One, established the S1 Warsaw label, as he says, ‘in honour’ of the store. Its recently released triple-vinyl box set celebrated Side One’s 10th anniversary, featuring the finest selection of Poland’s best artists.
U Know Me:
From hip hop
micro label to
new beats
‘At that time, there was a good record store in Warsaw where you could meet the city’s best DJs (Side One). There was one big problem, and that was almost no new Polish records on vinyl. So, a few of us decided to launch JuNoMi, and later many other imprints (…) and finally U Know Me.’
 – Marcin ‘Groh’ Grośkiewicz , interview for Juno Plus magazine.
The Very
Polish Cut Outs
– diggers’ gold
It’s not all about Warsaw, however. The latest international revelation that has heavily contributed to the upsurge in Polish underground dance music, as well as the birth of the Polo House genre, came from Poznań via Berlin. The story goes
like this:

Maciej Zambon, a DJ from Poznań, moved to Berlin, the mecca of European electronic dance music. There he started releasing edits of dusty old Polish records on vinyl. It was a continuation of the record label he had started in Poland with his friend Kacper Kapsa: The Very Polish Cut Outs. One of these records became a huge hit.
Maciej Zambon
video: courtesy of Boiler Room
TVPCO’s legacy
brought to
another level
Not planning to rest on his laurels, Maciej Zambon immediately started Transatlantyk, a new record label somewhat built on the legacy of TVPC but with a refreshed vision, aimed at promoting artists unknown to the international public. It has only featured Polish artists so far, but Maciej Zambon is already thinking about exploring other, even more undiscovered scenes, such as those in Romania or Belarus.
a leading label
since 1999
Recognition Records is run by the aforementioned Jacek Sienkiewicz and to date remains one of the strongest voices in Polish techno, gathering artists and collectives such as Jackname Trouble, Chino, Sroczyński Prus, Tumult Hands and Jurek Przeździecki. Their aim is to take their Detroit and minimal techno inspiration to another level.
Fathers and
Sons Recordings
and Tapes
Father and Son Records and Tapes was founded by Maciek, the older Sienkiewicz brother. The label offers a wide spectrum of electronic music: starting with its founder's releases and finishing with some of the most promising present-day artists on its roster (e.g. Das Komplex, Selvy, and Naphta). What the label is also recognised for is its captivating LP covers designed by the most celebrated Polish visual artists.
Find out
more about
Polish music
on culture.pl
Culture.pl is the biggest and most comprehensive online source of knowledge about Polish culture. It boasts a wealth of articles, artist bios, reviews, essays, synopses, videos and more. For over a decade now, the Culture.pl website has been operated by the Adam Mickiewicz Institute – a national institution working to strengthen Poland's cultural impact and the international reputation of its artists.
Polish Composers
Report From
Outer Space
While Poland was obviously not in the front row of the powers competing in the space race, it did engage successfully in an altogether different race. Its stake was representing what space and alien civilizations may actually sound like.
A Foreigner’s Guide
to Polish Jazz
The prolific history of Polish Jazz may seem inaccessible for foreigners: so many characters, so many musicians and various streams of jazz music. If you want to get started on Polish jazz and discover the story of Komeda, Stańko or Seifert, try out the Foreigners Guide to Polish Jazz.
- International Hits
Remixed in Poland
From a piece dedicated to the Shah of Iran, to a Beyoncé pop hit, Poles have tampered with lots of different songs. See for yourself in this remix playlist compiled by Culture.pl.
Seattle’s KEXP
Selects the Top 10
Polish Indie Bands
KEXP visited the OFF Festival in Katowice, an event known for being one of the best alternative music festivals in Europe, and recorded 10 stunning live sessions.
Yass – The Jazz, the
Filth and the Fury
The 1990s saw the birth of a musical trend that wanted nothing less than to turn the established order of things to ash by the most drastic of means. This new trend was called yass.


1982, Warsaw, ZOMO fighting the protesters
photo: Chris Niedenthal / Forum

To understand the beginnings of electronic dance music in Poland, a very brief historical background has to be presented. Until 1989, Poland was ruled by a communist regime, therefore subject to several rules that applied to all states within the sphere of influence of the Soviet Union. The media, travel abroad, and the import of goods were all heavily controlled. The communist authorities ensured that there was no free and independent media. No one had a permanent passport (you had to apply for it each time, and applications were rejected more often than not), and importing goods was always scrutinised and often unjustly punished.

In general, electronic dance music was treated as a symptom of the moral decay of capitalist countries and was banished from state-owned media (and there was no other media available). This is why until 1989, electronic dance music was almost absent from Polish music, and the only way it could get through the Iron Curtain was by private citizens buying vinyl records abroad and bringing a very limited number of copies to Poland in their luggage. People who were allowed to go abroad for some rare reason (scholarships, artistic residencies, other work) were some of a lucky few that had a chance to realise what trends in new music looked like elsewhere. This is why the only word that appropriately describes the relationship between Polish electronic music artists and those of the rest of world is, simply, isolation.

The Polish Radio

Krzysztof Penderecki and Eugeniusz Rudnik
at the Experimental Studio of the Polish Radio, April, 1972
A photograph from Ludwik Erhardt's Meetings
with Krzysztof Penderecki

This is how it all started! Soon the most avant-garde composers (Włodzimierz Kotoński, Krzysztof Penderecki, Andrzej Dobrowolski and Józef Patkowski), guided by the studio engineer Eugeniusz Rudnik and sound engineer Bohdan Mazurek, started to experiment in search of new means of creating contemporary classical music. They started by over-processing a single sound so that it could become the basis for a whole piece of music. The first piece ever to be produced or composed by the Polish Radio Experimental Studio was Włodzimierz Kotoński’s piece Study on One Cymbal Stroke.

The composers, perfectly educated in classical music composition, were assisted by two engineers who played the role of their guides – revealing the arcane intricacies of electronic sound processing and working arm-in-arm with them on developing the sounds they needed. One of them – Eugeniusz Rudnik – soon turned out to be a visionary. Being conscious of the limitless spectrum of possibility provided by the instruments, and at the same time unburdened by an overwhelming knowledge about the rules of composition, he started creating timeless pieces and in the years to come became one of Poland’s most prolific and renowned creators of electronic music.

The First Non-
classical Polish

Marek Biliński was a co-creator of the term ‘el-muzyka’. Moreover, his most popular music video has become a flagship of the genre, voted the best music video of 1984 by viewers  of state TV (remember, there was no other media available). A true pioneer of el-muzyka, he was one of the very first to perform live concerts of popular electronic music in Poland. His preferred way of performing is through sound & light performances, because he thinks electronic music needs a bit of illustration to get the listener into the desired state of mind. The music of Marek Biliński has been a source of inspiration for many artists from different fields of art, such as a ballet based on his album Dziecko Słońca (Child of the Sun).

Komendarek is a truly iconic character in Polish electronic music. His personality, uncompromising attitude, and strange image, as well as his membership in the progressive band Exodus, made him a very popular solo artist in the 1980s. His music is an extremely uncommon combination of progressive rock (Komendarek loves King Crimson), classical piano music and an endless craving for the wildest electronic experiments. In recent years, he has been working with Polish pop star Tomek Makowiecki, appearing during his live shows to play ground-shaking solos and proving his incredible showmanship. His output is so varied that it would take at least fifteen examples to give even the most general overview of his creativity.

Trumpets & Drums
– Electronic
Music at the
Transition of Eras

This was also the time when people already involved in creating electronic listening music and industrial rock started to engage in producing more danceable tunes. One of the very first projects that was born this way was Trumpets & Drums.

Daniel Kleczyński was tired of being stuck in the industrial rock clichés and decided to do something fresh. What he came up with was a combination of electro and heavy industrial sounds, resulting in music with a very dark and catastrophic mood.

Daniel Kleczyński
photo: courtesy of the artist

The album Buy & Die was (ironically, given the title) the first and the last by Trumpets & Drums that was to be released in Poland (two more were released abroad in subsequent years), but spiritual successors soon started to emerge. Bexa Lala was in the game again. Its frontman Cezary Ostrowski changed the band’s personnel once more and released an album inspired by industrial music and the early work of The Prodigy.

Techno arrives
in Poland

Filter Space, one of the first dance clubs in Warsaw
photo: Filtry's archives

Still, there were very few places where you could go to a party – there had hardly been such things as dance clubs during communist times. The gap started to fill up thanks to young enthusiasts who had had a chance to get a taste of Western clubbing. They started creating clubs imitating those they had seen in Berlin, London etc.

The popularity of these first clubs was so big that not only did they become homes for the nascent group of party lovers, but they also started attracting all kinds of people who wanted to do creative things, looking to meet like-minded people, artists, DJs and musicians. Soon, apart from DJ sets, clubs started hosting live concerts, artistic performances, and exhibitions. Stanisław Trzciński, one of the founders of Warsaw’s trail-blazing club Filtry recalls:

‘There was a certain aura of festivity and spontaneity; there was something “arty” about that. Every night there was a long line in front of the club. (…) Even though we had never designed Filtry as a club for elites, our customers in the early 1990s turned out to be present-day key players in film, media, advertisement etc. That was just the sort of people that got attracted by the spirit of the club.’

These first clubs encountered endless complications and constraints. There was no tolerance for the noise the clubs produced, and people accused their owners of selling drugs and spreading moral decay. However, clubs which got closed for administrative reasons or went bankrupt were soon replaced by new ones. Thus, Polish clubbing was born.

Moreover, soon it became standard for dance clubs to be organised into two rooms: one for dancing to techno, house or whatever, and the other, usually called the chill-out room, where they served mostly ambient, minimal and, later, trip-hop. This way young people could enjoy the freshest mix of tunes from Western Europe and the United States.

Two Brothers
Ahead of Their

Jacek, after his journey to Berlin, where he bought records by Robert Hood and Cristian Vogel, started gathering the gear indispensable to a professional producer.

‘Eventually I bought a Roland TB303 in 1996,’ he said in an interview with Paweł Gzyl for muzyka.onet.pl. ‘At first I thought that it was enough to produce a whole piece but then I discovered it was only a bass synthesizer. This is how I started completing my set-up: TB303, then a sampler, drums and other synthesizers. To be honest, I never stopped this process.’

Jacek started producing in 1997, and in 1999 he self-released the very first Polish techno album, titled Recognition. Surprisingly (for him as well), it became widely acclaimed, not only in Poland but also abroad. He was invited to perform in the capitals of European electronic music – Berlin and London. Soon, he moved to Berlin and got the opportunity to record an album for Cocoon, a label owned and run by legendary DJ and producer Sven Väth. Jacek Sienkiewicz immediately became the most recognisable artist in Polish electronic music. In the following years, he released many magnificent albums and founded Recognition Recordings – to date, one of the strongest voices in Polish techno, gathering artists and collectives such as Chino, Sroczyński Prus, Tumult Hands and Jurek Przeździecki. Yet, when Jacek’s popularity started to grow, he backed down and continued his path as an uncompromising artist.

The older of the Sienkiewicz brothers, Maciek, started working as a DJ around 1993. Soon he teamed up with another enthusiast (who in the years to come would become DJ 600V, one of the most accomplished Polish hip-hop producers) and started playing the most popular clubs in early-90s Warsaw – Hybrydy and Alfa). Maciek remained a very active DJ until the mid-1990s, when he stepped aside somewhat, growing tired of electronic dance music. He turned to avant-garde electronic music and noise, swapping raves and clubs for concert halls. His career as a journalist simultaneously started to flourish. He began working for iconic magazine Machina as well as Kolor, one of the first private radio stations, and eventually hosted his own TV show dedicated entirely to popularising electronic music.

In 2015, Maciek founded Father and Son Records and Tapes, a label offering a wide spectrum of electronic music. It began with its founder's releases and quickly put some of the most promising present-day artists on its roster (e.g. Das Komplex, Selvy, and Naphta). The label is also recognised for its captivating LP covers, all designed by celebrated Polish visual artists.

the Female
of the Polish
Music Upsurge

‘With the passing of time, chill-out music started to speed up,’ Novika said in an interview with Paweł Gzyl for muzyka.onet.pl. ‘This is how chill-out rooms became alternative dance rooms! People no longer felt the need to listen to ambient and relax on the sofas...’

For Novika, it became obvious that there was a gap that had to be filled with new music, something danceable but relaxed and smooth. In 2000, Novika joined forces with Konrad Kucz and Wojtek Appel to form the band Futro (Fur) which instantly became beloved among the nascent class of alternative pop listeners.

Even though Futro didn’t last long, Novika’s career continued, and to date she remains the first lady of Polish electronica. She releases solo albums, is part of the popular Beats Friendly DJ collective, and has appeared as a guest on countless records. Her role is special for two reasons: she was a true pioneer for live acts, and she did a huge amount for the promotion of electronic music. Even those without a penchant for electronic sounds have heard about Novika and, thanks to that, about Polish electronic music.

Passion That
Overcame the Biggest

Wojcek Czern OBUH Records founder
photo: A still from 'Obuh na jednego' documentary

Marcin Czubala, co-founder of Currently Processing Records – one of the very first recording labels to produce vinyl records in Poland after 1989 – said in an excerpt from an interview with Paweł Gzyl for muzyka.onet.pl:

‘It was all insanely complicated! We ordered the vinyl discs to be pressed at some factory in the Czech Republic, because in Poland it was completely impossible. Then, all the issues with tax and customs regulations started. No one had a clue how to categorise our product! Moreover, we had to do all the work ourselves. One day, a huge lorry arrived at our door and we had to unload thousands of vinyl records on our own!’

In 1993, Wojcek Czern, an original character from the borderlands of eastern Poland, started producing and releasing vinyl records under his self-established label OBUH records. He did it just to make one of his many music dreams come true:

‘I release records on vinyl just because many of these groups are worth it and, even though they wanted their music to be published this way, they never had the chance. Today, their albums are being released in the form of vinyl EPs as an homage to their works, paid after many years.’

The catalogue of OBUH records (now defunct) was very much varied: from jazz/improv, through ambient and industrial, to Krzysztof Penderecki’s soundtrack for the Wojciech Jerzy Has film The Saragossa Manuscript.

Sampling Becomes
the Polish Weapon of Choice

photo: promotion materials

The duo teamed up in 1998 and were seriously into Polish jazz and fusion vinyl records from the very beginning of their existence. The next step was chopping all those classic LPs into samples and spending months and years assembling their cut-and-paste mosaics, morphing dusty jazz pieces into the freshest nu-jazz tracks.

Skalpel's music is a perfect combination of their fascination with the past and the future. Their highly original and extremely creative approach toward the rich-but-unknown improvised musical heritage of their country resulted in the creation of albums that were the subject of rapturous acclaim and popularity.

Catz ’N Dogz:
From Casual DJs
To An Institution

Catz ’N Dogz
photo: promotion materials

Their real breakthrough came with a remix of Who’s Afraid of Detroit? by Claude Von Stroke, a popular techno producer and the owner of two record labels – Dirtybird and Mothership. Von Stroke was so pleased with the remix of his song that he offered Catz ‘N Dogz further collaboration. In 2010, Catz ‘N Dogz decided they were ready to establish their own recording company – Pets Recordings.

Twelve years into their career and five years as a label, Catz ‘N Dogz and Pets Recordings are both institutions. As a DJ collective, they hold residencies at Berlin’s Watergate Club and Ibiza’s Dirtybird while touring non-stop, playing high-octane sets that prove their dance music star status is well deserved. Pets Recordings releases big names as well as Catz ‘N Dogz albums, and organises showcases and events around the world.

Tracing Catz ‘N Dogz' artistic evolution from underground techno to sample-infused house is a fascinating process recommended for every thorough music fan. For those who just want to have a taste of their sound, checking out their recent release, Basic Colour Theory, might be a good idea.

One of Europe’s
10 best record shops

Rafał Grobel and Wojtek Żdanuk
photo: Albert Zawada / Agencja Gazeta

Side One goes way beyond the boundaries of a mere record shop. Thanks to its owner Wojtek Żdanuk and his intrinsic non-commercial attitude, it has become a cultural centre, a place where you can go when you lack inspiration or when want to meet or learn something from the best DJs in Warsaw. Żdanuk’s persevering endeavours to offer his customers the most up-to-date and high-quality selection has made Side One a significant factor in this heyday for electronic music in Poland’s capital. The shop was recently named one of Europe’s 10 best record shops by The Guardian.

S1 Warsaw
Side One’s 10th

Rafał Grobel
photo: courtesy of the artist

Rafał Grobel is an extremely active music promoter. He's been Poland’s Boiler Room promoter and co-producer since its first visit to Poland in 2014. He co-produced a marvellous short documentary for Boiler Room TV about the roots and emergence of Polish electronic music titled Stay True Poland, starring the aforementioned pioneers Eugeniusz Rudnik, Marek Biliński and Władysław Komendarek, as well as present-day electronic music creators.

In 2016, he started MOST Records, an electronic music sub-label from renowned hip-hop label Prosto. Its manifesto states that MOST Records aims at ‘leading Polish electronic music out from its underground ghetto’, vowing to popularise the best artists outside of the ‘underground electronic music niche’.

U Know Me:
From hip hop
micro label
to new beats

Soon, U Know Me Records became the leading voice in new beats and electronica. Unlike other independent electronic music labels, they also try to reach a broader audience than underground electronic dance music fans per se. Among their star-studded line-up of outstanding DJs and producers, they also include two electronic indie-pop bands: XXANAXX and RYSY. It begs the question: what is it that links all the U Know Me artists? Groh said in an interview with RedBull.com:

‘(…) It’s all about quality. Since the very beginning, UKM’s music was aimed at a global audience. In other words, everything we released must have been good enough to attract people’s attention everywhere on the planet. Plus, me and Buszkers (the other co-founder) had to like it!’

The Very
Polish Cut Outs
– diggers’ gold

‘Krystyna’, an edit of a Polish record from the 1970s reworked by popular DJ-producer collective Ptaki, drew so much attention that the TVPC label became internationally recognisable and got the publicity it needed to expand. After releasing several EPs, all of a sudden at the peak of TVPC's popularity, Zambon announced that there would be no further releases under the label.

‘I simply didn’t want to be only that “Polish edits dude”,’ he said in an interview for dwutygodnik.pl magazine.

TVPCO’s legacy
brought to
another level

Transatlantyk’s release from 2015 titled A Look Into The Bowels Of The Polish House Underground is a compilation curated by the label’s owner himself. It’s probably the best answer possible for what Polo House is – a high quality underground dance music infused with Polish melancholy and with a certain specific deep vibe… Naphta, Lutto Lento, The Phantom, Eltron John, Selvy – it’s high time to learn those names by heart.

As their press release says, ‘If you didn’t fall in love with the sound of Transatlantyk until now, after hearing this – you will for sure.’

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