Color, space, proportions, rythm, weight, scale, matter, contrast, solid (...) there are many terms which describe architecture. There are many impressions that architecture can make: it can overwhelm, move, amaze or surprise. It can calm down or drive you mad and more. All these characteristics we can translate to the language of music. It?s possible to play any single object of architecture.
Noises, murmurs, rattles, delays, moans, shakes (...) of houses, churches, bus or railway stations, commercial centers, markets, towers, castles, bunkers. Swimming pools, wooden huts, city-walls, airports, industrial areas, tunnels, piers and lighthouses. Blocks, hangars, stadiums, halls. Rooms.
Everywhere there are hidden sounds, a hidden world of sounds, frequencies, tones. Every wall has its own secret music. Its own pulse and key. Each of architectural objects becomes a musical instrument.
The building lasts in time just like sound.
Each space may be an instrument.
An architect as a composer.
A building as a scale of sounds.
A building as an instrument.
WHY?
"Music 4 Buildings" came up from a need of inspiration and creative-sounds explorations.
This is our attempt to find these hidden sources of sound and to bring them out from the walls and copy out through our language (language of performance) with a help of our sensitivity, intuition and skills.
This project is also a kind of a tribute for selected structures and it`s architects, builders and founders.
HOW?
Each work in "M4B" is a 3-level process preceded by research, documentation etc.
RECORDING ›››
The first step is the recording space and the structure of the building with a use of various special "REC"- techniques. Recording reverbs, the shaking of the foundations, the noise of the walls and other sounds of the object. We use special microphones and hi-sensitive recorders.
Registration area:
- own sounds of objects (resonations)
- sounds of interiors and spaces (noises and reverbs)
- environment sounds (context and exterior signs)
- sounds of function (fex people in church or drawbridge-work sounds)
- improvised records (fex preparation of sounds events)
COMPOSITION ›››
These records make a dictionary for the composition, which we will prepare by different editing methods (mobile studio production, located in the object). Presence of the public during these works is permitted (open laboratories).
Modifications, transformations, damage, repetitions and other methods are permitted. But the source of sounds must be a BANK. At the end, all music should be recognized as the specific building with it?s sound and atmosphere. All pieces are named after the building.
Are there many ways to describe building? Of course. But this music is TAKEN from buildings and COMPOSED from it?s sounds and there is no other supplement except the OBJECT-descended. This work is somewhere between a free-minded expression and a dedicated memorial or guide of the object. ‹‹‹
ADAPTATION - LIVE PERFORMANCE ›››
The composition is an ORIGINAL record for the next step: to perform it live. Using instruments, electronics (sampling and turn tabling), guitars, drums, voices... - "normal" sources of sound. A kind of translation of building-voice composition into a post-rock language, where interactive feeling between us and our skill/sensitivity are the most important element.
The next level of transmission. The next value. Human element.
The performance has two parts: the first is simply the emission of a record from a CD, and then a live adaptation of this record by the band. A kind of a speech with a translation.
The original record in comparison with the adapted record makes the real final effect, this is the target of the project. Two parts of one book. Two ways. Two values. ‹‹‹
WHO?
PETER CONRADIN ZUMTHOR - Drums/Percussion ›››
A swiss drummer, associated with the stream of improvised percussion music, constantly working with other outstanding drummer - Lucas Niggli (in the projects Drum Duo and Beat Bag Bohemia). The performer of dedicated pieces for percussion composed by Felix Profos and David Dramm. Together with Dominik Blum he is a member of The Azeotrop Duo, presenting a variety of extreme noise-metal-jazz. A member of Steamboat Switzerland Ensemble. He recordings for The John Zorn Tzadik Records and The "Not Two" Records. Since 2009, P.C.Z. working with a Polish group Karbido and an Ukrainian writer Juri Andrukhovych - in the recording of the album "Cinnamon" and concerts.
Zumthor and Maot are the authors of the idea of the M4B project. ‹‹‹
TOMASZ SIKORA - Virtualia ›››
Born in Kraków, Poland. The founder of Hermetic Garage Radio and Hermetic Garage Record Label. A video producer for The Residents "ROCVID" project and a movie "The Table". The producer and originator of audio-projects such as "LZ129 Hindenburg Disaster" and "Paper T.E.S.L.A. Show", publisher of all Karbido records. A sound producer of movies and a musician (kb/virtualia/analogs etc) in Karbido projects. Live & work in Warsaw, PL.‹‹‹
IGOR GAWLIKOWSKI - Guitars ›››
...is a guitar player as well as a composer and arranger, co-organizer of musical projects such as Cartoon People, Osiem and Formacya Bochianni. A founder of Karbido. Between 2000 and 2002 he was connected with the Polish Theater in Wrocław (PL), where he played live in 'Platonow' and 'Piaf'- in Contemporary Theater in Wroclaw. Igor is also a composer of music for theater plays, especially for dramas by Tomasz Man ("111", "Medea" and other). Has played with jazz and rock bands- with the same pleasure. Gawlikowski is also a sound producer for "Elizier Mizrachi" Jewish Orintal Mystic Music group. ‹‹‹
MAOT - Bass/voices/sounds ›››
it`s difficult to understand who is maot. A founder of Karbido, and originator of (...illegible)Karbido famous projects; a visual artist, a publishing designer, bassist, composer, sound producer... Average (...illegible), but (...illegible). Together with Zumthor, maot is an author of M4B idea.‹‹‹
...and lot of our friends, soundmakers and listeners.