“Regina Silva”

Because the world of nature has long interested me more than the world of humans, the impulse behind the album Regina Silva was the desire to build a musical narrative based on animal communication signals. I began collecting them through field recordings and by processing samples found in the digital realm. From this material emerged a lyrical–rhythmic structure in which biological, micro-formal irregularity merges with hypnotic repetition.

All the compositions were created in early 2024 in Kenya, which proved to be an exceptionally powerful creative catalyst for me—above all due to the intensity and autonomy of its natural environment. The richness and variability of the soundscape, audible at different times of day, led me to perceive the natural environment as a single organism, constantly communicating.

Regina Silva, meaning “Queen of the Forest,” does not refer to a specific figure, but rather to a state of being that exists beyond human intervention. Many of the motifs—especially rhythmic ones—were created by directly translating animal communication signals into compositional material, which became a key form-shaping element of the entire album. The record affirms a vision of the world devoid of human centrality, in which music functions as an equal mode of existence and communication.

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Joanna Duda is a pianist, improviser, and composer for whom solo work constitutes an autonomous space for sonic and formal exploration. In her solo projects, she moves between acoustic piano, electronics, and analog practices, treating music as a form of communication and a tool for searching for meaning beyond language.

Her solo discography includes the album *Keen* (Alpaka Records, 2019), released just before the pandemic; the fully analog project *Mouvements* (Monaural Poetry, 2025), recorded on tape and issued as a limited edition exclusively on hand-cut vinyl; and the forthcoming electronic album *Regina Silva* (Pointless Geometry, 2026). Each of these releases functions as a distinct aesthetic world, built upon different assumptions and tools.

In parallel, Joanna Duda develops her ensemble work as the leader of the Joanna Duda Trio, active on the European and international scene since 2017. The trio has performed at venues such as Ronnie Scott’s in London, Porgy & Bess in Vienna, Dizzy’s Jazz Club in New York, and at festivals including Berlin JazzFest and the Jarasum Jazz Festival in Korea. The ensemble has released the albums *Fumitsuke* (Echo Productions, 2021) and *Delighted* (Byrd Out, 2025).

As an interdisciplinary artist, Duda also realizes projects at the intersection of music and visual arts and collaborates with creators from diverse backgrounds and countries. These include work with American artist Maya Ciarocchi (*Site:Yizkor*, *LoopCurrent*) and *The Great Reset* project with Helen Svoboda and Sunny Kim, presented in 2025 at the Melbourne International Jazz Festival, the London Jazz Festival, and the Jazztopad Festival.

Her discography also includes the contemporary music album *Unchained* (Bołt Records), featuring compositions by Julius Eastman and nominated for the International Classical Music Awards, as well as an earlier long-term collaboration with the Wojtek Mazolewski Quintet, awarded gold and platinum records. Duda also composes music for theatre and film and works within electronic and hip-hop music. 

All tracks composed in Kenya, January - February 2024
Recorded at Kite Motion Pink Villa home studio (Diani Beach, Kenya)
Produced at Lo Stagnone home studio (Marsala, Italy) 2024
Composition & production: Joanna Duda / www.instagram.com/joannadudaofficial
Mix & mastering: Jakub „biøs” Mokrzysiak / www.instagram.com/bios01h
Artwork by Darek Pietraszewski / www.instagram.com/copy_corpo

Pointless Geometry 2026 / POINT#66