We Speak Music
Rzekomo Delivers A Mysterious Record With ‘The Gray Zone of Talk’
Rzekomo clearly isn’t interested in making background music. On The Gray Zone of Talk, the Polish artist delivers a record that feels immersive, mysterious, and occasionally a little bit unsettling, in the best possible way. As the third installment in the long-running 10 times 10 gives 100 series, the album continues an already ambitious project while pushing deeper into a sound world where ambient electronics, microhouse beats, and warped jazz guitar collide.
That might sound intimidating on paper, but the album is surprisingly approachable. There’s a strong emotional core running through these tracks, especially on standout single “which,” where nostalgic guitar fragments drift above crisp electronic rhythms like memories struggling to stay intact. Rzekomo understands how to build atmosphere without losing momentum, creating tracks that feel reflective but never static.
The production throughout is stunningly detailed. Granular synthesis transforms guitars into ghostly textures, while beats pulse gently underneath layers of synths, Rhodes piano, clarinet, and orchestral flourishes. Tracks such as “is not” and “which can” bring flashes of rhythmic energy, but even the more beat-driven moments maintain the album’s dreamy, slightly melancholic atmosphere. It’s electronic music that feels cinematic without becoming overblown.
What gives The Gray Zone of Talk its identity, though, is its central idea: that silence and intuition may communicate more honestly than words ever can. Inspired by philosopher Henri Bergson, the album explores communication through absence, repetition, and emotional suggestion rather than direct statements. Thankfully, Rzekomo wears these influences lightly. The music never feels trapped beneath its concept, instead, the ideas simply deepen the emotional impact.By the end of the album’s sprawling closer, “There is no need to talk about everything,” Rzekomo has achieved something genuinely impressive: a record that feels intellectually ambitious while remaining emotionally immediate. The Gray Zone of Talk doesn’t scream for attention. It lingers quietly instead, unfolding further with every listen. In a world overloaded with noise, that restraint feels refreshing.
Purchase the album on vinyl here.
Represented by Decent Music PR, the album was developed with the support of ZAiKS as part of the Creative Support Fund (Fundusz Popierania Twórczości).
Connect with Rzekomo: Instagram, Facebook, Spotify, BandCamp
Swiss artist Fanny Alexandra returns with “Black Pearl Summer”, a new single that finds her exploring a more open side of her alternative sound. Released via Now Listen, the track combines coastal imagery with a story about growing through grief, pressure and the experiences that can shape a person over time.
Alexandra notes that the song is relatively summery by her own standards. She has said that her music is usually darker and that she has never been particularly drawn to the typical idea of summer, preferring cold air, jackets and rugged coastlines. That gives the release a clear sense of personality from the outset.
The song centres on Alexandra’s reflections on being 19 and spending years focused on survival rather than fully living. Those experiences are presented through the image of a black pearl, which becomes a way of considering how something worthwhile can emerge from a challenging period.
What makes the track particularly effective is the balance between its subject matter and its musical approach. The production gives the song room to breathe, while Alexandra keeps the focus firmly on the story she is telling. It means the track can be enjoyed as a seasonal release while still offering more to discover in the lyrics.
There is also a clear sense of change in the way Alexandra approaches her younger self. The song is not about returning to that period or trying to erase it. Instead, it considers what can be learned from experiences that once felt overwhelming.
“Black Pearl Summer” therefore offers newcomers a useful introduction to Alexandra’s work. It shows an artist comfortable writing about serious subjects, while also demonstrating a lighter musical side that may not be as familiar to listeners who know her darker material.
It is an interesting glimpse of what Alexandra can do when she lets a little more light into the picture.
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