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Since his earliest projects nearly two decades ago, Polish composer Michal Jacaszek has kept some proximity to film music. Initially, his output simply felt cinematic by nature; densely detailed electroacoustic textures on releases like Lo-Fi Stories (2004), Treny (2008) and Glimmer (2011) evoked dimly-lit worlds within themselves, vignettes of the imagination. Over time his interest in sound design and collaboration would manifest actual film projects and commissions, some of which have earned him awards. Jacaszek's practice an amalgamation of ambient, classical, and musique concrete deploys field recordings, acoustic samples, poetry, and baroque instrumentation to paint pictures, oftentimes melancholic, nostalgic, tragic. His 2020 album, Music For Film, 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. InchI didn't write to particular scenes,Inch says Jacaszek, recalling the process of envisioning music for Rainer Sarnet's 2017 black-and-white fantasy drama November. InchHe asked me to create a bunch of pieces for a dark fairytale-like movie about love in old Estonian pagan times full of dark magic, strange beliefs, poverty, grit, and natural beauty.Inch That versatile purpose from the onset affords the material particular pliability in the album ; the pieces work on their own. Two tracks originated from the 2019 documentary He Dreams of Giants; another was first used in 2008 project Golgota wroclawska. 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 InchThe ZoneInch is curious and brittle, crawling on keys and a foundational bass thump as string
