Roshko Brothers - Interregnum (Self Release)

The Slow Music Movement
Aug 5
2 min read

This is the cover for the Roshko Brothers, "Interregnum" single. A lone figure stands in a dark, misty, ruined cityscape under a somber sky. The word "INTERREGNUM" is prominently displayed above.

The Roshko Brothers, known as Jan and Adam Roszkowski to their parents, grew up surrounded by the natural beauty of Poland's Suwalki region, something they try and incorporate into their music amongst the classical references, modern compositional horizon gazing and welcome electronic augmentation.

Jan learnt his cello chops over in New York, whilst Adam perfected his violin playing closer to home in Brussels, both busking to make ends meet which helped plant a desire for creative autonomy and compositional freedom, rather than being consumed by an orchestral hive mind. It's interesting to see their live set up with both musicians playing their instruments next to keyboards, laptops and synths, their music is not for the classical die hards on the whole, although they do have more traditional moments.

That would be enough for many, but they've also launched a festival in their home region, meddle with soundtracks and A/V production and Adam even tours with the likes of Earth Wind and Fire and Seal.

The Roshko Brothers in white coveralls stand side by side against a cloudy sky, gazing forward. The scene feels serene and contemplative.

Their music also has some serious thought behind it, "Interregnum" starting life as part of an early baroque opera that the brothers rearranged for an exhibition opening concert. Over a number of live shows they noticed the audience's growing affinity with the piece, which encouraged them to keep tweaking it until its the ambitious, beautifully realised composition that stands before you.

The sound of cello strings are plucked then looped to get the ball rolling imparting an immediately thoughtful air to the composition, the repeated refrain acting as percussion of sorts throughout the track. Jan then augments the repetition with some mournful yet graceful bowing, which paves the way for the subtlest of ambient electronic augmentation that bubbles beneath his brother's slowly building violin lament that ends in dramatic, impassioned, improvised style before reverting to more thoughtful, mood supporting rather than piercing playing, which shines more light on the sonic gusting and detailing, as the track patiently winds down in circular fashion by morphing back into its original form. It's a wonderful slice of multi-layered, century spanning, ultimately forward looking classical music that will still sound great in many years to come.