If I were to look at the ideas promoted by the Experimental Studio against Ma e Instrumenty's practices, I would refer to the concept of music which is - for certain reasons - 'impossible' studio electronic productions, preparing instruments, using and editing tapes - all those practices once broadened the perspectives of the art of sound. However, the 'unreachable' sound combinations produced by Ma e Instrumenty could also be considered as an attempt to overcome the 'impossibility' in music. However, both cases are differently time-oriented. The Experimental Studio practitioners were mostly interested in using the newest technologies and exploring a sphere of sounds which do not exist in the music tradition. Within Ma e Instrumenty, I mainly search for archaisms which provide the 'real sound' with more space and opportunities of functioning. Why is the album and the song entitled Kartacz (which literally means 'a canister-shot')? The military rhetorics has always influenced different ways various artistic areas were developing. Writing these words shortly before the 100th anniversary of the break of the World War I, I refer to a metaphor of a missile as a tool helping to shape the structure of a music composition. I also reach for acoustic peculiarities linked with the war and the collage of specific lines from Polish war films. The choice of quotations from Tomasz Sikorski's compositions is neither a matter of coincidence. His music has always been close to me: its experimental character, 'Slavonic' spirit and philosophical orientation towards inevitability of time.' Pawel Romanczuk, December 2013