Album Notes

Why this record is free

My attempts at fitting into American society always appeared futile to say the least. As an individual, as an artist, any attempt to connect with people there felt hopeless. My explanation is that ‘so called’ developed countries, such as my own, have become completely artificial. It looks as if Americans, myself included, have been conditioned by exposure to perceive the commercial aspect of life as not only reality, but as a responsibility. To me, it felt as if the people had been viciously contaminated by false images of wealth, stardom, and self-centered prosperity that, as a result, created a selfish, hateful society which can’t even realize that something important is missing. The artistic authorities seem to know little about meaningful creativity but everything about manipulation, marketing, and money. Those same people could equally well be selling cars or fast food. I believe music means more than a price tag and that’s why I’m not even slightly interested in maintaining a relationship with them

I confess, there was a time in my life that I believed in the delusional prospects given by the mainstream. I had even hoped to become a part of it all. But as time passed, some elements of mainstream creativity became unclear. I'd notice my former commercial heroes making dire anti-artistic choices. I’ve witnessed the Smashing Pumpkins’ recording a Super Bowl commercial, Chris Martin collaborating with Jay-Z for no artistic reason, Sigur Ross performing at a beer festival. … And everyone excused them, claiming that their actions were necessary if they were to make a living. To me this is just as if a parish priest promoted Satan a few times a year, in order to pad the collection plate. Would people be so supportive of that? So why do we excuse artists for the same behavior? Music has always been a serious pursuit for me, and in time it’s become more of what religion is for others. It is my higher calling and I’d love to see the same from my peers in the music industry.

Additionally, I noticed our audiences in big cities were almost mocking us for our lack of commercial success. The excuses they gave me in defense of their superficiality were always shamelessly the same: “You know, your band is great, but all the real stars come here, so you can't expect people to treat you seriously.” Have we become so brainwashed that we don't care about anything authentic and real? Don't we care about an actual person’s voice? In the meantime our audiences in places like Krakow, Lviv, Tucson, or Philadelphia—the cities often ignored by big stars—were cultured, respectful and extremely sensitive.

I will no longer give my energy to the people who can only see the money and the stardom. I sadly believe it’s too late for them to find anything truly meaningful in their lives and I hope that perhaps their children will.

I want to, however, devote all my energy to connecting with real people, who can experience real emotions. The only real reward I know an artist can get is his work being needed by somebody on some level—a reward I'm thankful to have experienced. I'm also thankful to live in a part of the world open-minded enough, to help me grasp that concept. My life in Poland and my experiences in Ukraine have changed everything for the better, I've become optimistic.

I want to be brutally clear, I only produce music to give others something that’s meaningful to me, in the hope that it could be similarly meaningful to them. So, no more obstacles: from today forward, my music is available for free online—so that everyone who might find meaning in it will have that opportunity. I don't want your money; I don't want your praise; I want you to know the music of Let Me Introduce You To The End and maybe find something intimate and personal in it. And if you do, share it with others who you think might also find that little something special in it.