#arszyn

[easterndaze]

Arszyn/Duda & Paper Cuts- There is No Conclusion (Review)

The mysterious, obtuse and bare-knuckle avant-garde There Is No Conclusion is a release from the collective improvisations of Krzysztof ‘Arszyn’ Topolski, Tomasz Duda and the duo formerly recognized as Paper Cuts (Wojtek Kurek and Lukasz Kacperczyk), released on Warsaw based label Pawlacz Perski. It’s three pieces of abstract sounds and free jazz orientated improv music; two of which ascend the ten minute mark, fighting structure and linear characteristics of ‘traditional music’. But unlike some lengthy improvisation releases, the group maintain an air of engagement throughout the entire odyssey; at the same time forcing the listener to question the formalities of truly experimental music, and offering a thought provoking statement about how the place and form of performance can impact and influence the music release.

For those of you who un-aware of label Pawlacz Perski, their rostering and release history reads like the far outskirts of what most would call ‘accessible’ music; covering diverse and experimental music beyond the threshold of definition. For example, a release by the label entitled Okoły gnębione wiatrem, by artist Bachorze, centres around several deep, drowning pieces of avant-jazz built around a screeching saxophone, backed by electronics that sound akin to a drill or jack hammer. Another, entitled Mneme, by artist Jacek Mazurkiewicz, is almost the complete opposite; sounding almost on the verge of meditative. Over two tracks, the listener is fed rattling gong brushes and reverb, accompanied by the occasional screech of electronic music, a lucid violin and lowercase tinkerings. Moral of the story; Pawlacz Perski release extensive and engaging music, highlighting the most interestingly quirky and unorthodox music in and around Eastern Europe. And while not all of their releases are the sort of stuff you would put on at a Tupperware party, they remain ridiculously intriguing and captivating as both music and as listening experiences.

There Is No Conclusion [ppt38] by ADPC (Arszyn / Duda & Paper Cuts)

It makes sense, then, for the label to release There Is No Conclusion, whose characteristics are every bit alluring, confusing and darkly winsome as the aforementioned releases. Recorded ‘live in concert’ at the acclaimed and equally as interesting Biuro Dźwięku Katowice in Southern Poland, the release begins with the lengthy, nineteen minute ’12 To 16’. This track is as close to what some would call ‘traditional free jazz’ as you get on the release, equipped with fantastic and progressive drumming skills by half of Paper Cuts that stay at a steady, swinging beat that holds the background of the musical chaos together somewhat. The first half of the song is where the realms of jazz are inspired thoroughly; featuring ear bending saxophone and heavy percussion. But as the song progresses, so does the experimentation which comes to include electronics, synthesizers, radios and other samples that turns the mood of the music schizophrenic in its diversity. And although its epic-ness and sheer weight makes it sound like pushing through metaphorical sludge, it is in fact an interesting full circle; beginning with elements that featured deep into the second half of the song.

The following song ‘Pan Radio’ opens with a lowercase radio frequency and centres around more experimental instruments and passages of music. Less jazz like, ‘Pan Radio’ contains the screech and fuzz of a radio that plays speeches and talking in a sample like manner. The percussion (for most of the song) remains much less intricate and free form than the opening track. The inclusion of saxophone adds another dense level to the avant-garde escapades the group of musicians thrash out. One should note the second half of the song, where heavy saxophone accompanies synthesizer to create a fantastic droning-jazz inspired piece of sonic electronica.

‘Bo Diddley’ sits at just over five minutes; making it a more condensed adventure than the other tracks on There Is No Conclusion, equipped with a different type of instrumentation and sound altogether. But the mood of the song is far from being unlike the other two on the EP; it’s claustrophobic, morph-like shape forms connect with ‘Pan Radio’ in a brilliantly transitional way. Unlike the other songs however, ‘Bo Diddley’ only contains the crunch and churn of synthesizers, samples and other various electronic sounds, which amount to what seems could be likened to a dense, improvised piece of soothing ambient music. Eventually, as the instruments and sounds amass, the song begins to feel like a clear extension of the rest of the music on the release.

Altogether There Is No Conclusion rewards its listeners by containing a few elements, one of which is the players that appear on the recording. Kacperczyks musical creations on a modular synthesizer prove to be an essential ingredient to the musical soundscapes of the EP. Accompany this with Arszyn’s use of a radio as an instrument to create an extra layer and sample like sounds and the two create a wild, textured sound that shines its brightest on the wavering ‘Bo Diddley’. One of the greatest elements of the entire project is the percussion section; holding the background of blast beats and cymbal runs in a free jazz context that sounds as brilliant as they do original. From a slow tap to a full kit, the beats and hits of the kit reinforces the music while still maintaining the all-important ‘feel’ of improvised music. To top all of this off, the screeching, fantastic blasts of Duda’s saxophone add a necessary tightness to the wild blasts of music; especially on the opening track.

I thought for a while, while listening to There Is No Conclusion, what makes interesting and thoughtful improvised music? Is it the quality of performance and performer? Is it the relationships, dynamics and connection between the players? Is it the dis-connection between the players? Is it in the performance itself? Is it how loose it is? I read a few bits and pieces and declared it was all the questions I had asked and more. Improvised music should speak for itself in its connection, it’s fluidity and it’s performative elements, to represent those involved in a way that transcends what linear, formatted music can do. I noticed eagerly after this statement was made that There Is No Conclusion had personified it; it all its glory and its noise.

By Cam Phillips

[dustedandsocial]

60 more records from 2017: 2017 pt.ii: CELEBRATING 2017 in 2018: (continued...)

30 favorite/best albums: experimental/avant/free jazz/non-rock

ADPC (Arszyn, Duda & Paper Cuts) - There Is No Conclusion CS (Pawlacz Perski) Aging - Suitable For Night CS (Tombed Visions) Alessandra Novaga - Fassbinder Wunderkammer LP (Setola Di Maiale) Angles 9 - Disappeared Behind The Sun CD (Clean Feed) Bastide, Durand, Lozzitto, Niyri - Discussions Du Jeudi 2xCD (Harisska) Blod - Leendet Från Helvetet LP (Förlag För Fri Musik) Colin Potter - The Abominable Slowman LP (Abstrakce) Chicagojazzen - Ständut Black LP (Zeon Light) Delphine Dora – Multitudes: Songs Of Walt Whitman's Leaves Of Grass CDR (Self-Released) Dog Lady Island - Future Of The Body CDR (Chocolate Monk) Equipment Pointed Ankh - Resplendent Bird With Rayon Book And Broken Erection CS (Loin Seepage) Gagu - Elephant (dualpLOVER) Gaute Granli - Animalskt CD (Drid Machine) Kristian Poulsen, Mathias Sæderup - Hybrid-Subjekt-Objekt LP (K.P. & M.S.) Louis Minus XVI - De Anima LP (Love Mazout + 10 other labels) Macho Blush - User Guide CS (Tymbal Tapes) Matmos, Villeneuve, Class Of 69 - Tatouages Mentholés Et Cartouches D'aube CS (Scum Yr Earth) Maximum Ernst (with Daniel Carter) - Maximum Ernst CD (Ever/Never) Nakama - Worst Generation LP (Nakama Records) Nicole Mitchell - Mandorla Awakening II: Emerging Worlds 2xLP (FPE) Ot To, Not To - These Movements I & II CS (ACR) P Wits - P Wits CDR (chemical Imbalance.) Phew - Light Sleep LP (Mesh-Key) Potro Joyo - Potro Joyo CD (Morphine) Refurinn Kitsune - Spacelight Shines Through Us CS (Zamzam) Roe Enney - Glare (Root Strata) Sexton Ming - Inevitable Stupid OST (Mordant Music) Somesurprises - Serious Dreams CS (Eiderdown) Won James Won - Prozrachnik CS (Baba Vanga) zOHastre /\ Nibul - zOHastre /\ Nibul CS (Zamzam)

30 favorite singles/eps/demos: punk, rock, noise rock, etc

Andy Human & The Reptoids - Pee-Pee 7" EP (Goodbye Boozy) Bogano - Gross National EP (Self-Released) Cole Tut - Cole Tut CS (Marginal ProductS) COQ - Demos CS (Self-Released) Crack Cloud - Anchoring Point 7" EP (Good Person) FLQ - War Measures (Self-Released) Gad Whip - In A Room 12" (Ever/Never) Golden Oriole - Golden Oriole 12" (Drid Machine)  Housewives + Massicot - Split 7" (Et Mon Cul C’est De Tofu? / Red Wig / Harbinger Sound / Blank Editions) It's Me: Ross - 'The Knife' bandcamp single (Self-Released) Monster Island. - The New Vernacular EP (Self-Released) The Moonrakers - recollections of a big band error EP (Self-Released) Mozart - Nasty 7" EP (Iron Lung) Night Sticks - Afraid To Cry 7″ (Waving Hands) Noseholes - Noseholes 7" EP (ChuChu / Harbinger Sound) P.J. Bonneman – Mig Og Henriette 7" (Hjernespind) Piss - ST EP2 7" (Static Age)  Playboy - Celebration 12" (Negative Jazz) Rank/Xerox - M.y.t.h 12" (Adagio830) Sass - Demo 2017 CS (I Hate I Skate) Schizos - Fuck Iggy Pop 7" EP (Neck Chop) Spray Paint & Ben Mackie - Get Legless 7" (12XU) Stefan Christensen - Open Day 7" EP (I Dischi Del Barone) Straightjacket Nation - Straightjacket Nation 12" (La Vida Es Un Mus) Structure - Demo (Self-Released) Tendre Biche - Minigolf EP (Self-Released) Traffic Island Sound - All Aboard 7" (Another Dark Age) Tropical Trash - Decisions' Empty Nest 7" EP (Sophomore Lounge) TV Dinner Education - Little Birds 7" (8tta 7uor) X-Ray Fiends - Fuzzilla/Buzzkilla 7" EP (1:12 Records)

[iami0]

"Alle carte t'alleni nella tetra cella" generative animation from Alessandra Leone on Vimeo.

----------------------------------------

RAM | Radical Animation & Musik hosted by Audition Records & Salon Bruit auditionrecords.com/ram.html

-----------

Aikia (Alessandra Leone) : ------------------------- (motion graphics) Music: Live in Prague 2005 (excerpts) | Emiter (Marcin Dymiter) & Arszyn (Krzysztof Topolski) [ Radical Poland III | 1988-2011 Krakov | Audition Records ]

---------- "Alle carte t'alleni nella tetra cella" Berlin, 2012

----------

Particles reacting structures evolving and taking life into this extract from the 10 minutes long composition.

[podilatokafe]

ADPC (Arszyn / Duda & Paper Cuts) – There Is No Conclusion (PAWLACZ PERSKI 2017) Republic of Jazz Once again Krzysztof "Arszyn" Topolski and Tomasz Duda are guests at Pawlacz Perski premises.

[eskaem]

25.10.16, wtorek, #kwadratdzienny #eskaem.pl / jedno / #kronikadźwiękowa #teatrboto #adamwitkowski #arszyn #dźwiękiiszwy #sopot #igersgdansk (w: Tu Powstaje Eskaem.pl)

[feregjarat]

my fave 2015 album so far

[iami0]

Cluster by Arszyn/Duda from Alessandra Leone on Vimeo.

Arszyn / Duda Cluster

video Alessandra Leone

from new album Automata

Music performed by

Trzysztof Topolski - no input mixer Tomasz Duda - saxophone

Recorded at EMS Studio, Stockholm, Sweden, February 2013 Enginiered by Tomasz Duda

Edited and composed by Krzysztof Topolski and Tomasz Duda. Mixed and mastered by Tomasz Duda at Nagrywex, Otwock, Poland, 2014

Cluster voice recordings by corsica_s taken from freesound.org

EMS studio recording session was made possible by Polish Institute in Stockholm

[easterndaze]

The Polish in Exile

Today we would like to introduce a few Polish underground artists who are underrated or even unknown in their own country, but definitely worth the attention. They play experimental music and stay out of mainstream. Sometimes, their records may be so hard to find that it may seem as if they were trying to hide them from the world.

Micromelancolié – Owl Eater

Robert Skzyński is the owner of the 49manekinów net-label and the co-owner of 77industry net-label. He has been recording and publishing his music and video art since 2003 under a lot of monikers (about 12 so far). In spite of all these activities, Skrzyński is an artist unknown even to those few who are actually exploring the Polish underground scene with some engagement. One of the most interesting of his achievements as a sound engineer is a project called Micromelancolié (in Polish: Mikrodepresja) whose latest cassette – Owl Eater (C30, limited edition of 40) – has been released recently on Already Dead Tapes & Records, a small American label „established from musicians using non-traditional methods to craft sound as art”.

Skrzyński's approach to the issue of samples reminds me of going through one's personal scrapbook – an archive of the most secret, intimate symbols and metaphors which are totally incomprehensible but seem to be driven by some internal order.  Lazy drones and funeral strings are layered together with a cackling of cheerful chickens, birds chirping. The most mesmerising piano is having a chat with group of flute scraps and an industrial loop. But what's most important here: Owl Eater is a collage, not chaos, it's a subtle symphony made of one's handy mess. Skrzyński never loses his wits so everything is falling into right place, carefully caressing the ear and lighting up the atmosphere of your reading room. It's postmodern mysticism, hot and dusty sampledelia similiar to Kurek's Heat or Basinki's Disintegration Loops in miniature. 

Tundra – Tundra EP

Tundra is an improv-electroacoustic project by Dawid Adrjanczyk and Krzysztof Joczyn from Gdańsk. Dawid's solo project – Trupwzsypie – gained positive critical response for it's debut album (Intymne życie pantofelka released in 2010 on Pitu Pitu Recordz) and was focused on hauntology in the vein of early Belbury Poly, tape ambient and samples from educational VHS tapes. Tundra isn't that nostalgic though, it's definitely dreamy. By using glitchy loops, samples, tapes, analog synthesizers, Vermon's organs and such delicate instruments as flute or bells, Adrjanczyk and Joczyn are establishing an imaginary journey through vast surfaces of north Eurasia. A voyage highly recommended for every connoisseur of hazy folktronica and experimental ambiance. Tundra's new album – Anekumena – will be soon available so check their bandcamp once in a while.

<a href="http://tundra0.bandcamp.com/track/krzyki-drzew" data-mce-href="http://tundra0.bandcamp.com/track/krzyki-drzew">Krzyki drzew by Tundra</a>

Tomasz Krakowiak - Moulins

„That's it, I'm not into those avant wanna-be's”, one could say and, well, that may be a reasonable approach because experimental artists have let down our trust hundred of times. But Moulins by Tomasz Krakowiak seems to be a bit different. Krakowiak recorded 30 minutes of free-improv percussion – naked, dense rhythm in the vein of mad japanese OLAibi – but at the same time those tracks could get recognised as an abstract field recording or a sophisticated complimentary comment on activities of such artists as Monte Young or Harry Bertoi. Krakowiak's eclectic approach to percussion relies on the method of capturing a sound – it's clear just from the first spin that the microphone has been placed really close to the instrument and thus, we are listen to the rhythm „in zoom”. Because of the massive sound it's not surprising that Moulins are being called „sound sculptures”. Check it out here.

Arszyn - B

Arszyn's latest tape released on Sangoplasmo – B – is an ultimate proof that he's one of the most interesting Polish sound artists nowadays. Arszyn (Krzysztof Topolski) has always – or to be accurate since the 90's – been fascinated with the phenomenon of soundwalk and on his new release, he takes listeners for an audio tour of a troubled place. B  is a typical noisy tape full of tape hiss, chaotic strings, field recordings and sudden dissonances so characteristic for horror soundtracks. According to Wikipedia, dissonance is a „combination of notes that sound harsh or unpleasant to most people” and Arszyn takes this definition a bit further by saturating loud and disturbing sounds with a sentimental glow which makes noise even more haunting. It's like listening to grotesque memories especially because of the hypnotic rhythms which constitute Arszyn's own memory of his first experiences as a professional drummer. B is for Burial Hex in the pleasant, ironic mood.

<a href="http://sangoplasmo.bandcamp.com/track/b" data-mce-href="http://sangoplasmo.bandcamp.com/track/b">b by ARSZYN</a>

by Filip Szałasek. Check out his fantastic blog here.