A motto for all our activities: A droplet is not the shape of water, but rather is a method by which water plays its games, not having any other responsibilities to perform. Khalid Ibn Igkherssi (11th c.) PRESS AND INTERNET RELEASES: "This group has been performing since 1993 and refers to a continual rotation of members as one of its trump cards. Surprising, isn't it? Their music is even more surprising.... There is something unearthly about it, and although in some parts it raises goose-pimples, it also utterly absorbs the listener, who remembers it for a very long time.  The group uses the term Zombient to describe the type of music it plays - a trance like combination of the cosmic sounds from two analogue keyboards and the hypnotic voice of vocalist Marzena Boron (Mboro), who also introduces elements of pantomime to the performance. As textual material for her vocals she uses Japanese XVI century haiku poems. The ritual-magic conception of musical creations as a celebration of passing time constitutes the foundation for all of the compositions. It is the artistic creation of writer and composer Piotr Grzesik, who was the founder of the whole project." Malgorzata Antosik "Guide to the Polish Underground" Lódz 2001 "We have not included the entry about KLANDESTEIN in this lexicon purely for the sake of this group's interesting concept of creating music structure, because what does matter is not "in what way" (although the method is worth being aware of), but "what really is there." I perceive this music as an individual story told by means of space, surfaces, lines, points, suspended sounds, slow motion and disturbing pulsation. It may be called a bit mysterious, arcane, fairy-tale, yet realistic; while hypnotising our minds and senses, it does not take them totally captive. This music, focused on every note, is artistically persistent and conscious of its own creation. The vocalist's charismatic voice perfectly matches the electronic landscapes, adding to them a touch of magic and ritual. KLANDESTEIN's art seems ascetic and restrained, however, it is also passionate and abrupt. Before I heard "Planet Tiger" I had become acquainted with Piotr Grzesik's "Feary Tales", and then with his "Melanhole". He builds his music according to the same rules as KLANDESTEIN does. Both CDs bring us electronic music which is not as unique and charismatic as KLANDESTEIN's. Their titles define the tone and atmosphere." Henryk Palczewski's "Informator Ars-2" nr 31, 2001 "Strange ambient! A new discovery from the polish ambient-scene, KLANDESTEIN from Cracow link elegic synth- & analogue-Sounds with ethereal female singing, using a certain tonal system. Very meditative & hypnotizing and a bit obscure... " Stefan Knappe "BarakaH" Drone Records - November 2001 - mail-order catalogue "Piotr Grzesik is the founder and "lawgiver" of the unique and unprecendented system that combines tone pitches with elapsing days of the author's life according to complex rules and formulas that are known only to a small circle of "initates". From time to time - on specially allotted days - the artist performs "ritual" operations based on laws of probability which subbordinate the days to come to specific notes. Despite the rigour of those procedures, the results of those operations have more to do with some sort of "magic" than with science. Each day is represented by one note and, in this manner, the real passing away of time (elapsing days) symbolically converges on the flow of musical time (i.e. time closed in the repeatable form). The system is a mode of musical creation as well as a means of documenting time (a sound "chronicle") and an instrument whereby the author organises his life. Piotr Grzesik called a sequence of notes that corresponds to the seven successive weekdays the "module". Each module lasts - is performed - for one week only. The modules form the basis for improvised musical pieces performed by a group called KLANDESTEIN, and for his solo pieces. Module processing involves the search for appropriate rhytm, atmosphere, sound and melody, based on a sequence of notes which are ascribed to a specific week. Significant role in this process is played by the specific characteristics of Piotr Grzesik's instrument - analogue YAMAHA synthesiser from the mid-seventies, as well as electronic sound processors."  doc. Karol Riffer "Future Guide Magazine" Kraków 1999 "This is a CD that I have been listening to for a couple of months, and still I cannot catch its phenomenal character. The concept behind "Planet Tiger" is founded on a pamphlet of Johannes von Grieschke, the 17th century esoteric, astrologer and astronomer who claimed that there are not eight, but nine planets in our solar system. The ninth he called Planet Tiger and attributed to its influence most of the epidemics, wars and other disaster that harassed the mankind. The remaining issues about the contents are not so obvious... Cracow's KLANDESTEIN have worked out an unchangeable system they based their music on since the very beginning in 1993 (no matter if it was an acoustic, electronic or electro-acoustic - the current one - period). I cannot undertake a task to explain how it does work because I am sure, I would miss something important. It is said enough that the formula of KLANDESTEIN's music is very hard to pigeonhole, which is most exciting about their the 3rd album. The group transgresses many set phrases on a composition, and musical styles as such. They create broad streams of sounds that intertwine with each other, which have resulted in liquid and amorphous forms of music. The tracks do not seem to have beginnings and ends, mood twists or any climax and in that sense they cross the line between a planned composition and improvisation. This is a very emotion-soaked music, unconscious and psychedelic. A female singer, whose beautiful voice fits perfectly in the unique formula of the group's music acts as fuel to fire. For their own needs, KLANDESTEIN labelled it as "zombient", which rather speaks little to me, however one can find in there ambient, as well as minimal electronic and illustrated music being actually none of them. Of course, it is hard to find any points of reference to them, but if I could, it would be Miroslaw Rajkowski and Ksiezyc (on acids!) performing live. Recommended!" Krzysztof Sadza "Eld Rich Palmer Zine" September 2002 musicians:  MARZENA BORON (MBORO - in "international" style) (vocals, keyboards, computer programming) Vocalist, lyricist, has performed with KLANDESTEIN since 1995. A member of the MIGRESKA Pantomime Theatre Group as well as other music groups and projects operating in Cracow, Poland. Works as a therapist in the Social Welfare Center in Cracow, where she runs a theatre group which has been successful at a number of local and national festivals. She is also computer graphic artist. PIOTR GRZESIK (PETER GRESSICK - in "international" style) (keyboards, computer programming, overall artistic concept)  Author (prose: "Na Przedmiesciach" ("In the Suburbs") - Baran and Suszczynski Publishing House, Cracow 1997 - Polish Culture Foundation Award; "Karmasutra" - Baran and Suszczynski Publishing House, Cracow 1999; "Ksiega Nieurodzaju" ("Degenesis") Ha!art Collection, Cracow 2001; several articles printed in the magazines: "viVo", "Future Guide" and "Ha!art". Composer (founder of KLANDESTEIN group in 1993; author of solo recordings: "Cycle" 1993, "Feary Tales" 1999, "Melanhole" 2000).