MORPHEUS
MUSIC INTERVIEW - JACASZEK
02.11.08 - on release
of Treny.
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| Q:
Can you tell us a bit about your background
as a musician? |
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I can't say much actually. I finshed Conservation at Art School,
so I'm an art restorer in fact.
I cant play any instrument:))) |
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Q:
What led up to the making of this your
third album Treny? |
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A couple of things:
Desire to bring up sounds I've always had in my mind.
Also a cooperation with musician and string arranger Stefan
Wesolowski who gave Treny a sort of "final touch",
and somehow influenced my musical thinking. |
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| Q:
What was your purpose in making the album? |
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I do not design how the album
will be received by people after the whole production process.
In this sense I didn't have any plans, purposes etc.
My work is a response to inner impulses. My general purpose
is to answer them, find a good sound equivalent of what I
hear inside myself |
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Q:
How was the music recorded? |
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There were 4 steps:
1. I prepared around 25 backgrounds composed from sampled
strings, pianos, harps, choirs, orchestral phrases etc.
This was the basis for another step:
2. There were live string parts arranged by Stefan - he
wrote some phrases for violin and cello. Than we did the
recordings.
3. I did the same with vocalist Maja Sieminska - she came
to the studio, listened to the music, and recorded some
soprano improvisations.
4. After all this I did some more mixing and editing: -
cutting and pasting strings and vocals, processing with
effects etc.
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Q:
How do you create
the electronic aspects of your material?
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In fact
the basic sounds are not electronic - all the sound was
created from live, acoustic recordings, sampled and edited.
One of my most favourite processes is lowering the sound
- an octave or more down. I dont like standard effects;
I hate delays, flangers, choruses. |
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Q:
Some reviewers have commented on the
idea that you avoided the use of samples on Treny - what do
you feel worked best in collaborating with the other musicians? |
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Well I did use samples! Maybe
I had just a different method of working with them...
Live parts - strings and vocals extended the harmonic structure
of my music, also brought some life and freshness to the sounds
which in fact were digitally programmed.
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Q:
In your bio you talk of electronic manipulation
of recorded sound enriching traditional acoustic instruments
- how do you think this works?
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Here' s one
example:
I've got a piano phrase in my sampler. Then I play it an octave
down.
The sound I hear is not possible to execute on any live instrument.
That's why I think I extend the possibilities of piano using
a sampler. It is simple.
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Q:
Treny has passages of great beauty -
what inspired your sense of musical beauty?
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Music of old
masters: Bach, Dowland, Tallis ... also some modern composers:
Debuissy, Gorecki, Part. |
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| Q:
Treny has been very well received - what
do you think has contributed most to the success of the project? |
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I just made
honest music. Honest meaning not trying to copy anything.
I tried to do something coming from myself, from my musical
tradition as well. People always can recognize and appreciate
that.
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Q:
How did you come to work with Miasmah? |
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Normal way. I just sent a demo to Erik Skodvin
who runs the label
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| Q:
What musical plans do you have for the future? |
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Musical plans? Just standart artist development:
more, better records :)
I'm working on another project at the moment. I'm composing
music using recordings I made in Gdansk (the town where I
live in Poland) gothic cathedrals:
vocal and organ samples, bells, whispers, hums, noises etc.
I want to build sort of sonic reality of those beautifull
mysterious interiors. Then I'll be looking for the label .:)
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| Thanks
to Jacaszek for allowing us that interview.
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