Praecox – Raw Hypnotic and Pure | True Techno Podcast 110

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True Techno 110: Introducing Praecox. Jerzy Przeździecki’s Thirty-Year Journey Through Industrial Electronics and Buchla Sound

True Techno 110 arrives as both a mix and a map. Warsaw producer Jerzy Przeździecki, working across the names Praecox, Epi Centrum and his own, steps into the True Underground series with a recording that traces more than three decades of electronic music. Released in August 2026, the set gathers material from his principal projects and draws a clear line from the radical energy of 1990s Polish underground culture to the hardware-focused experimentation that defines his work today.

Key Takeaways

True Techno 110 was assembled by Jerzy Przeździecki as a purposeful passage through three production identities, successive eras of his career, and the shifting styles that formed his approach over thirty-plus years. Buchla modular instruments, the Triple Morphing Filter and carefully controlled acoustic feedback networks provided the core tools for the dense, unsettled textures heard on his Epi Centrum releases for Trapez and Affin. A new album under the name Jerzy Przeździecki, drawing on Detroit techno influences, is prepared for release on Poland’s IDO Records in autumn 2026.

Picture Warsaw in the 1990s: the National Stadium market thick with residual tension, heroin a visible presence on the streets, organised crime simply part of the city’s fabric. At the same time, strobe lights cut through LSD fog in clubs, illegal parties flared in surrounding forests, and the Academy of Fine Arts operated as a permanent engine of rebellious ideas. Cassette players ran constantly in the studios. Students staged events that regularly escaped official oversight. From that charged atmosphere stepped Jerzy Przeździecki, a producer who has spent his career refusing simple labels, moving between the identities of Praecox, Epi Centrum and his given name.

True Techno 110 captures that restless movement. The mix is not a standard selection of tracks but a carefully plotted route across thirty years of changing sound.

I have to admit I spent quite a bit of time thinking about its concept, especially in the context of my work as a producer. In the end, I decided to create a musical journey through my three artistic identities, different periods of my career, and the styles that have shaped my sound over the years. In the mix you’ll hear tracks by Epi Centrum, Praecox, and Jurek Przeździecki. I hope this journey through more than 30 years of my musical evolution will be enjoyable both for you and for the listeners, while also giving them a chance to discover the different dimensions of my work.

Post-communist Warsaw still carried the weight of the previous decades. Forest raves, specialist record shops and the Academy of Fine Arts together created an environment where radical thinking was everyday practice. Music filled every studio space. Inside that setting Przeździecki’s own direction took shape. Early listening had centred on punk and hardcore; those influences slowly opened onto Throbbing Gristle, Psychic TV, Nitzer Ebb and Cabaret Voltaire. The shift proved decisive. For the first time he felt compelled to produce original work and establish a personal voice. An Atari computer and a modest collection of machines became the tools for his first experiments.

The Academy also housed Blue Velvet, a network of basement rooms that absorbed him for days at a stretch. Events ran throughout the week and drew overlapping communities. There he encountered Tromesa, already respected on the international psy-trance circuit. The partnership that followed produced Bigwigs and launched years of worldwide travel. Viewed from the present, the progression feels continuous rather than accidental. Punk, industrial, psy-trance and today’s experimental techno each added another stratum to a single ongoing narrative. He has never sought membership of any one scene. The search has always been for an individual vocabulary.

The reason was very simple. Through Praecox, I had become strongly associated with psy-trance and psy-techno. That project was deeply rooted in the fluorescent aesthetics and culture of the psychedelic scene, which made it difficult for people to approach my newer music on its own terms. The music I was creating had very little to do with psy-trance anymore. So I decided to release my minimal techno work under my own name, Jerzy Przeździecki, while reserving Epi Centrum for the darker, heavier, and more experimental material. It was a way of bringing clarity to my artistic portfolio rather than separating my work into rigid genres. For me, these projects have always been different facets of the same artistic identity, not boxes defined by stylistic boundaries.

Industrial music supplied a foundational attitude rather than a set of surface sounds. Its refusal to compromise, its roughness and its readiness to confront the listener shaped his entire method. Early Praecox pieces such as Mechanikum and Minigram drew on machine rhythms, excerpts from horror and science-fiction cinema, and prepared violins. Acoustic feedback has remained a constant technique. Reverbs, delays, analogue filters or distortion units can all be pushed into self-oscillation by returning output to input under controlled conditions, generating organised disorder. One ongoing collaborative project is constructed entirely around the generation and sculpting of feedback. The inheritance from industrial culture was philosophical: energy, a doctrine of creation, and the conviction that sound itself can function as experiment and confrontation.

As the underground of the 1990s gave way to a more formal club network in the early 2000s, hearing his own productions played on club systems beside records by admired artists supplied both satisfaction and unforgiving feedback. Each night out became a lesson. He returned to the machines, adjusted, refined and advanced.

Initial wider distribution came through Damon Wild’s Synewave and Jacek Sienkiewicz’s Recognition. Both figures had lived in Warsaw; contact was almost inevitable. The 2009 EP Loop Pool appeared on Recognition. Damon Wild later reached out after hearing the record, beginning a connection that continues. Support from labels known for rigorous selection confirmed the value of his personal approach and encouraged further development.

True Techno 110 and the Practice of Multiple Identities

Running several projects at once in the mid-2000s required no complex technical separation. Entering the studio was closer to choosing a destination. Once the direction (Epi Centrum or Praecox) was set, listening habits and the hunt for particular textures, rhythms and emotional registers shifted accordingly. More frequently the choice arose from improvisation itself: a sound or unexpected event would declare its own affiliation. Emotion was allowed to lead, because the strongest results tended to appear when rigid control was relaxed.

Live performance methods have changed markedly. During the Bigwigs period, shows in Japan, Australia and South Africa relied on a 24-channel desk, samplers, synthesizers and a MIDI-linked computer, standard equipment for the era. Roughly fifteen years ago sets were almost wholly improvised; listeners rarely recognised material from the records and often requested more familiar pieces. Current practice uses two complementary systems. One pairs a compact modular setup with an Octatrack, the modular supplying unpredictability while the Octatrack holds loops and fragments that are continually reordered in real time. The other combines Octatrack and Digitakt II, presenting released tracks as stems while generating fresh sequences and arrangements on the fly. Both methods keep composition and spontaneity in productive tension. A concert should never simply replay the studio versions.

Buchla instruments formed the central architecture for work released on Trapez and Affin. Even amid the expansion of Eurorack, Buchla retains a distinctive sonic identity and working method. The instrument often resists simple, conventionally tonal results more stubbornly than complex, abstract ones, a quality Przeździecki actively welcomes, allowing the system to suggest directions he would not have chosen deliberately. Epi Centrum material for Trapez leaned on the Triple Morphing Filter’s capacity for dissonance; pieces such as Exponential Density and Crepuscular carry that unstable character. Affin releases centred on the Buchla Music Easel, a more immediately navigable instrument that nevertheless preserves the essential Buchla voice.

Material that reached Sven Väth’s Cocoon Recordings was never designed as straightforward club weaponry. By Epoxy in Burnout is restless and syncopated, content to wait for the precise moment in a set. Qwerty Poema moves in the opposite direction, more lyrical, reflecting a period of immersion in classical harmony. Both tracks had already been tested extensively in clubs and festivals. The sense of space and emotional weight found in Qwerty Poema continues to resonate in later work.

Nina Kraviz’s трип label reopened the Praecox chapter for both new listeners and the producer himself. What had felt like a closed phase found fresh life. The music emphasises hypnosis, unpredictability and extended phrases that dissolve before full resolution. Bass construction differs from other projects: multiple independent layers typically supply weight, motion and harmonic or textural colour simultaneously. Precise attention to phase and frequency placement produces physical depth on large systems that a single bass line cannot match.

Studio Methods, Improvised Collaboration and Continuing Direction

Work with pianist and composer Andrzej Karalow rests on shared commitment to improvisation. Albums Wir and Pedestal’s Complement emerged from extended free sessions that were later shaped through editing, treated as evolving blocks rather than layered constructions. Live performances remain entirely improvised. Przeździecki’s contribution frequently introduces contrast, the piano’s fragile expressiveness set against the unstable, distorted character of the Buchla Music Easel, so that the two voices challenge and complete one another.

Routine is deliberately disrupted. Several ideas are kept in motion at once; when progress stalls on one, attention shifts elsewhere. Starting points are never predetermined. A rhythm, a sequence or hours of open Buchla improvisation can each launch a piece in an entirely different direction. Even the sequence of decisions alters the final character. Self-imposed limits sharpen invention. Current experiments restrict the palette to a single instrument, the Roland SH-101, testing how much depth can be extracted from one voice.

Mixing begins with the room. Accurate monitoring in a treated space outweighs any individual piece of equipment. The conceptual priority leans closer to high-fidelity listening than to functional club sound, though dancefloor effectiveness remains important. Each element is treated as a participant in a conversation that must remain clear and purposeful. Microscopic details, faint movements, quiet textures, are retained as invitations to repeated listening.

On stages from South America through Europe to Asia, especially at large outdoor festivals, the performance system must be dependable above all. Soundcheck permits fine adjustments to the room and PA, yet the underlying requirement never changes: equipment must be robust enough that attention can remain on the music and the audience rather than on technical survival.

Across more than twenty years the core impulse has stayed constant: the wish to surprise himself and the simple curiosity about what happens when a particular control is touched. Originality remains non-negotiable. Intuition is trusted over calculation. The studio functions as a place of exploration rather than production quotas. Tools evolve; the underlying aim does not, to remain honest to personal direction and to produce work that brings genuine satisfaction.

Large Kimono, released as Praecox on Ellen Allien’s BPitch Control, was shaped as an unrestricted statement of artistic feeling and a direct challenge to algorithmic systems and homogenised club culture.

In my creative process, I deliberately avoid tools that make artistic decisions for me. Artificial intelligence can be incredibly useful, and I value it as a technology, but in the studio I remain the creator and the final arbiter of every decision. Despite AI’s extraordinary rate of development, I believe that emotional judgment is still uniquely human. The ability to shape, recognize, and communicate emotion is what gives art its meaning—and what continues to define our value as creators. From the very beginning, Large Kimono was conceived as an uninhibited expression of artistic emotion. In many ways, it’s also a provocation aimed at contemporary technology—a question addressed to the mythical “system”: Can you do this? This album is built from everything that has shaped my artistic sensitivity over decades: intuition, lived experience, accidents, contradictions, and emotions accumulated over a lifetime. These are things that no language model or generative system truly possesses. The tension between accident and order, unpredictability and intention, softness and rawness—this is where my music lives. That’s the system I build. Not an algorithm, but a human one.

The record was complete before contact with Allien. Ten finished tracks simply required a suitable home. A concise Instagram message produced a rapid reply and, in time, the BPitch release. Allien’s input focused mainly on choosing four pieces for the vinyl edition, the same four that held the strongest personal significance for the producer.

Authentic creation, in his view, demands a form of productive friction: the willingness to interrogate every decision and discard work that falls short. The principal difficulty with Large Kimono lay in resisting shortcuts and sustaining the patience required to reject the merely adequate until something lasting appeared.

In autumn 2026 a full-length album on IDO Records will gather material recorded under the name Jerzy Przeździecki. Several tracks date from three to five years earlier and have been revisited, remixed and remastered. Tempos sit around 134 BPM. The collection draws on classic Detroit techno qualities (rawness, openness, spatial depth) while remaining stylistically varied. It functions less as a pre-planned concept and more as an archive of accumulated feelings and observations.

I think the strongest connection this album can make across generations is authenticity. Not its tempo, not how closely it follows current trends, but the simple fact that it reflects who I am. There’s no performance, no pretending to be someone else. Age is never a barrier if the person on the other side is willing to listen with an open mind. Emotions don’t belong to a particular generation – they don’t have an expiration date or an age limit. Creating music that is driven by emotion requires faith: faith that those emotions will eventually find someone and provoke a genuine response. For me, making music has never been an end in itself. It’s a tool that can lead to something more meaningful – a change in the way someone feels, thinks, or experiences the world. Everyone experiences that change differently, but that’s exactly what gives music its purpose for me. The possibility of moving people, awakening emotions, and giving meaning to an experience is what continues to make creating music worthwhile after all these years.

True Techno 110 presents that continuity in audible form. Across one continuous sequence, Praecox, Epi Centrum and Jurek Przeździecki speak together, three decades of evolution compressed into a single, living document.

Check out all editions of True Techno podcast here.

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