Dispatches from Studio Komoy
POLIN.SKI // KOMOY DISPATCH
Hi there, internet friends. This is The Komoy Dispatch. I am pivoting to an irregular, possibly non-existent newsletter. It is an attempt to remember how to interact with the internet. It is also because I don't want to keep giving money to Squarespace for a website that I never get around to updating, so I need somewhere else to point my polin.ski domain at.
How much I end up writing here will depend to a large degree on how active 65LABS becomes in 2024. At the time of writing, this is unknown. Over the last few years, despite me having more or less disappeared from the older social platforms and being unable to get any of the new ones to stick, I have still been contributing thousands of words, hours of music and many megabytes of confused bundles of code to the 65LABS, patreon-based back-channel. If that slows down next year, I might use this newsletter as a place to write about and explore whatever music systems I'm building/using/breaking.
For the last thousand years, or however old I am now, outside of the usual making-records and going-on-tour activities of being in a band, there has always been a need to push at the edges of those templates and find new forms to make weird glitches in. For the first part of the last decade, that energy was directed into a PhD in algorithmic music, 65's infinitely long score to No Man's Sky, and various 65days projects like Decomposition Theory. There was a fair amount of overlap in all those things. In the latter part of the decade, that evolved into 65's A Year of Wreckage project, which in turn bloomed into 65LABS and the Wreckage Systems Live Stream.
I am lucky to have these various outlets to be able to platform my weird noise experiments. It also means that a lot of my creative energy is sunk into 65LABS, 65daysofstatic itself, and various game dev/sound design/composition projects that actually pay the bills. Anything that remains for my solo Paul Wolinski/Polinski work has been limited to relatively straight-forward music releases.
Back in February 2023 I put out Telex From MIDI City on Data Airlines.
Then a few months ago, I put out a decade-old score I wrote for Jean's Abreu's experimental dance piece BLOOD. (I have no idea why it took me ten years to get around to this.)
In terms of focus, it might be the same in 2024. It is hard to say. I recently finished a companion e.p/mini-album to Telex From MIDI City. I am actually listening to the masters as I type - they've been done by Kalle Saint Jonsson from Data Airlines. They're giving 90s Banger Realness. I guess this release will be announced properly early in the new year. So I suppose I need a newsletter for that, if nothing else?
There are currently a few other strange generative music/digital A/V/experimental-glitchy-something projects swirling around too and if they don't get (happily) swallowed by 65LABS and I don't get bored of them or get too busy and I don't decide that they are rubbish, then perhaps this will be a place to share them too.
Oh, this dispatch is being written from Studio Komoy. Studio Komoy is a semi-mythical place made up of tangled MIDI cables, uncooperative computers, bad acoustics, broken dreams and limited desk space. An ephemeral zone that stumbles into existence whenever or wherever I am making music, coding digital glitchy artefacts, or trying to explain myself in writing before immediately regretting it.
That's it. See you some time. maybe. If not, check in with 65, I'll probably be there.
