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MORPHEUS MUSIC INTERVIEW - JACASZEK

02.11.08 - on release of Treny.

    JACASZEK - TRENY JACASZEK - TRENY JACASZEK - TRENY JACASZEK - TRENY  
 

JACASZEK - TRENY JACASZEK - TRENY JACASZEK - TRENY JACASZEK - TRENY

Q: Can you tell us a bit about your background as a musician?  
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:)))
  Q:  What led up to the making of this your third album Treny?   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.
     
             
Q:  What was your purpose in making the album?   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
  Q: How was the music recorded?  

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.

             
Q:  How do you create the electronic aspects of your material?
 

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.

  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?   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.
             
 
     
Q:  In your bio you talk of electronic manipulation of recorded sound enriching traditional acoustic instruments - how do you think this works?
  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.
  Q:  Treny has passages of great beauty - what inspired your sense of musical beauty?
  Music of old masters: Bach, Dowland, Tallis ... also some modern composers: Debuissy, Gorecki, Part.
             
Q:  Treny has been very well received - what do you think has contributed most to the success of the project?   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.
  Q:  How did you come to work with Miasmah?  

 

Normal way. I just sent a demo to Erik Skodvin who runs the label

 

 

           
Q: What musical plans do you have for the future?   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 .:)
       
Jacaszek - Treny Live

Thanks to Jacaszek for allowing us that interview.

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