AMBASADORIA isn’t your typical album. It’s a glitch in the emotional matrix. A sonic novella whispered across timelines. It’s as if Tomasz Kowalczyk cracked open a parallel universe, invited a few ghosts from childhood dreams, late-night existential spirals, and inner monologues, and let them all jam out in cosmic duets.

This album pulses with micromusic — those fine, delicate sonic threads woven with obsessive detail. But don’t let “micro” fool you. Emotionally, AMBASADORIA is monumental. Think of it as a slow-motion collapse of memory, identity, and human instinct, with music bleeding through the cracks like moonlight in a dark room.

Tomasz is joined on the album by guitarist, Seif Limami, who adds a deeply interpretive lens to four standout tracks from the record — each one feeling like a black hole at the center of a different internal universe.

Right out of the gate, “Dolly” is a shapeshifter. Seif kicks things off with a four-note tap — a kind of sonic Morse code. It’s simple, minimal, but it plants the seed. What unfolds is like a time-lapse of emotion growing in fast-forward.

We go from spacious and pensive to something far more tangled: reggae rhythm guitars chug along under shimmering classical-inspired lead lines, until the middle section flares up into a full-blown ’80s hard rock solo meltdown. It’s tension, release, and return — like a memory that spirals wildly out of control before you reign it back in.

The song doesn’t end with clarity. It fades — beautifully, ambiguously — like a dream you're not quite done dreaming.

Nicknamed “the sudden change of seasons,” “Perseids” is all about the emotional whiplash of growing up. Inspired by the fleeting magic of childhood, the intro melody feels like floating — or spinning gently in the dark — with a nostalgic softness, like the smell of old schoolbooks and warm pavement after rain.

But things shift. The middle of the track stretches out into a long-delay lead, echoing through your skull like the aftermath of a mental rollercoaster. You can hear the dizziness. It’s brilliant.

By the time the final third kicks in with its classic rock tone, we’re snapped into the sobering truth — the ride is over. Time flew. You blinked and you're an adult. A hauntingly beautiful moment of musical reflection.

“Touch” is what happens when memory, trauma, and identity try to have a conversation — and all start yelling at once. The intro is sparse, slow and searching, like your brain trying to piece together a dream you just woke up from.

Then the chorus hits — and it’s a moment. The octaver effect doubles the guitar like two versions of yourself are singing in harmony: past and present, shadow and light, regret and hope.

As the song progresses, it becomes more chaotic, like a rush of fragmented thoughts, old photographs, regrets you forgot you had. It ends in unresolved tension — a fitting finale for a song about the parts of ourselves we bury, only to find again later.

“Cradle” is pure emotional architecture. It opens with sustained notes, almost like prayers — slow, solemn, and thick with meaning. Every note feels like it’s holding time in place.

But this song isn’t just nostalgia. It’s also confrontation. The chorus swells into a national anthem of self-pride, a musical reclamation of your core values — even after they’ve been tested and cracked by reality.

The second verse is genius: a room full of mirrors, each one reflecting a different “you” from another timeline, all shouting for relevance.

The outro wraps everything up in a harmonized solo — two guitar lines that don’t fight, but blend in unison, as if finally letting the past and present versions of yourself walk side by side. It’s moving, introspective, and quietly triumphant.

AMBASADORIA is not background music. It’s headphones-on, lights-off, eyes-closed kind of music. It demands stillness. It asks questions you might not be ready to answer.

Tomasz Kowalczyk and Seif Limami’s don’t just deliver melodies — they deliver emotional x-rays, capturing the slow tension of being human in a constantly shifting world.

These duets are like letters to yourself in alternate timelines. And if you sit with them long enough, you might just hear your own story echoing back.

Highly recommended for lovers of ambient fusion, cerebral guitar work, sonic narrative, and existential artistry. Or anyone just trying to figure themselves out in the static.

We spoke to Tomasz about their journey so far.

Do you have an interesting moment or story from your early life that has had a significant impact on your journey into music?

Tomasz: I was born to die suddenly. However, my grandmother saved me from death at the last moment - my lungs had already stopped breathing. When they took me from the hospital - and what I remember first - was feeling the taste, color and smell of sounds. Cantilena melodies swayed to my soul, I loved to sing them later - as a little boy. I feel my entire birth as crystallized music with the feeling that I was born to give humanity compositions that the Universes sing.

Are there any artists that were influential to your musical journey? How have they inspired your sound as an artist?

Tomasz: I have loved many artists endlessly during my musical journey. I love Domenico Scarlatti's sonatas, Bach's Partitas, but also Michael Jackson's music from the 90s, I do not hide my love for Fryderyk Chopin or Igor Stravinsky. I am also inspired by electronics, such as Juno Reactor. The most important thing is to find your own soul in the Herz cluster, which is a mirror directed at human souls.

How would you describe your sound to new listeners? What do you think sets you apart?

Tomasz: My music is distinguished by my own intervals, harmony and unique melody. Which I have built over 30 years. My style has become recognizable from the first listening all over the world. However, it was a path through great suffering and pain - because only they are able to show us the truth, and only the truth will set us free.

What’s your creative process? Where do you normally start when it comes to writing and recording? Do the lyrics come first?

Tomasz: I create with the help of instinct, because as the classic said: 'If I know what I want to create, then from an artistic point of view there is no point in creating'. I am guided by the elements, as well as interplanetary winds and clearings. Words come simultaneously with music, but I have also composed many pieces for outstanding Polish poets, such as Jan Lechoń - so there are no limitations on my part here. I love to indulge in beauty - to feed on art - it is a fetish that saves my life.

Have you had any challenges or adversities in your life that you feel have shaped you as an artist?

Tomasz: Never try to please everyone, nor listen to people who do not have good will towards you - they do not want to support you constructively - they only want to lead you astray - to their average perception.

Are there any moments or achievement from your career so far that you’re most proud of?

Tomasz: I feel almost no pride - I call it the `Tchaikovsky Syndrome` - because he himself had similar moods - dislike and dissatisfaction with his compositions. Self-criticism devours me, attachment to the Universe swallows my atoms - but I am happy that people love what I do. That is why I am here.

Which do you prefer, the creative process or live performance? Or do you enjoy both equally?

Tomasz: Live performances - this is my favorite adrenaline - I love being alone with the piano and giving people love, sadness, but also hope and a remedy through music. If everything was created directly from waves - then I believe that music is the best medicine. Studio recordings have other charms - for example, that we can endlessly create a new kind of dynamics, new musical microspaces.

Do you as an artist require fans to fully understand your message in each song or do you encourage subjective interpretation from every listener?

Tomasz: Music became a product - that is, it began to question the original meaning of art - the recipient always had to climb to the heights of their perception of perception in order to experience illumination and symbiosis with art, from which they will extract an infinity of subjective feelings and a sense of surrounding nothingness. Meanwhile, music began to praise and caress the recipient, due to economic considerations and democracy. Everything turned upside down, as the recipient became more important than the art itself.

Does the political landscape have an impact on your music, or do you keep your personal opinions separate from your work as an artist?

Tomasz: An artist should stay away from politics, avoid it, because, as in the example of Picasso - Guernica - not to commit kitsch. However, one cannot be indifferent to human suffering and hatred - because as Charles Baudelaire said - boredom and indifference - spleen - are worse than hatred.

What are your future plans? Any new songs/projects on the horizon?

Tomasz: This year I start giving concerts, so beautiful things will happen!

AMBASADORIA is available now on all major streaming platforms

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