https://youtube.com/playlist?list=OLAK5uy_n6vFfpHYKcKZi_TMfSuOoU-uNkGuQ8DMU

Stefan Wesołowski - violin, viola, cello, double bass, piano, synths (all tracks)
Maja Miro - fute (2)
Piotr Wesołowski - pipe organ (5)
All tracks composed & arranged by Stefan Wesołowski
Recorded by Stefan Wesołowski and Marcin Nenko (Studio Zbrodnia).
Mixed by Al Carlson
Mastered by Rafael Anton Irisarri
Recorded in Gdańsk, Gdynia and New York, 2023/2024

"Song of the Night Mists" to nowy album Stefana Wesołowskiego, kompozytora, skrzypka i producenta muzycznego. Pozornie jest ostatnią częścią trylogii, następującą po albumach Liebestod (Imprortant Records 2013) i Rite of the End (Ici D'Ailleurs 2017, uznany Najlepszym Polskim Albumem 2017 roku w plebiscycie Gazety Wyborczej). Wszystkie trzy poruszają egzystencjalne kwestie, takie jak miłość, śmierć, rozkład i „ostateczny koniec”. Album został zmiksowany w Nowym Jorku przez Ala Carlsona (Oneohtrix Point Never, Jessica Pratt, Zola Jesus, Lady Gaga i Liturgy), a masteringiem zajął się Rafael Anton Irisarri.

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The writer Max Sebald often pondered over the nature of human memory, specifically, how our thoughts and desires - and their results - overlap and mutate over time. In A Place in the Country, he writes of the significance of what see as “similarities, overlaps and coincidences”. Are they the “delusions” of the self and senses, or manifestations of “an order underlying the chaos of human relationships, [...] which lies beyond our comprehension”?

Song of the Night Mists, the new album by post-classical composer Stefan Wesolowski, often feels it draws on Sebald’s premise.

On a simpler plane, the one where the market dictates the neatly ordered information we consume, Song of the Night Mists can be described thus: recorded in the main by Stefan Wesolowski in Gdansk, both in his studio and in Saint Nicholas' Basilica, the album incorporates acoustic instruments - piano, violin, double bass - and classic synthesizers such as the Roland Jupiter-8, the Soviet Polivoks. A Roland Space Echo RE-150 tape delay was also pressed into service as an instrument. We also hear the basillica’s organ and field recordings from the Tatra Mountains. Other musicians were Maja Miro, who played the flute parts on ‘Glacial Troughs’ and brother .......
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