wef.pl/choptour

Maciek

2.What is your occupation?

I am a musican and sound engeeiner

3.Where were you born? Where was the most influenced place (the environment) to you? Why?

I was born in Poland – Gdansk. It's difficult to say about one place in our live – any place influencing for us somehow. But if I had choose one of them – maybe London City – I remember that was unbeliveble feeling when I saw such a lot of people – mixed cultures, such a lot of colours, many many surrounding sounds – Yes – that was one of the most influenced place in my life.

4.When did you start love music? And Try to make it yourself?

Hmm – since I remember I was playing on some instruments. I finished music school, music academy, and now I making music – this is what I loving make the best.

5.When did you started on attempting to make experimental music/sound art? What happen to you that time to make you feel like have to attempt in doing so?

What I doing now, began when I was in Academy playing the clarinet. Then I had already knew that I dont want to be a classical musician, and classical sounds doesnt interesting me as a new sounds, something fresh. Then I started looking for something more than a traditional instruments like clarinet or piano.
I dont like classical way of playing music – composing my own music, looking for new sounds is the only way to express yourself – that was the reason why I experimenting with music.

6.What do you think of Sound art? What is your definition? And Experimental music also?

Definition of Sound art is simply for me – its strictly expressions in the sounds. If I hear trully emotions in the music this is sound art for me. Exactly as in all of sphere of life.

7.What kind of things are you interested in, i.e. could be sounds, music, philosophy, behaviors, books, films and other materials which especially can inspired your works directly? Why?

I like very much books, movies, listening other music, but the most inspirations for me is just curiosity of creating.

8.How do Polish people like music? What kind of music do they listen frequently? What are their attitude to the new music or sound Art?

In Poland there is a lot of people not interesting in music – generally in art, they arent looking for something special for yourself, something new, so their listening, what is in TV or radio – commercial POP, or something.
But since some time I see that sensibility of younger people is growing up – so we have more & more interesting festivals, more and more rare cd's in the shops. But I think that is just beginning of that.

9.How do you think about the landscape of music/sound art in future?
I think music now become to be not only music – more often music is connecting with other media – visual art or something. People are still experimenting, looking for new things, so I think this would be direction of music for nearest years. I dont know excatly – I am curios as You:)

10.I have heard from you that your new album is in processing. How is it like? Could you introduce it briefly?
My first album is almost finished. I think it would be interesting becouse of time of creating. I recorded the material for this album for two years, some tracks are from two years ago, some are from now, so its something like long review:) I want release this album very much, and begin to work for a new material.

11.What else would you do beside music?

I work, rest, read a books, meet with friends, watch movies.

KLC_NIR’s Answer
1.What do you think about Poland and Polish people?

As I have heard from books, TV, internet and people who have been to Poland, for me, the impression about Poland and Polish people was music and art. Musicians are always indispensably and involved into different areas—classical, modernistic, avant-garde and etc. Poland is special, especially for those creative and imaginative people. Its passion, creative and independence bring up these. The country is happy to support art and artists, as I have heard from one of my friend that there are funds for musicians, good places for performance and universities are opened always for artists to rent equipments and make researches. This is very good. People who living in such a fascinated country, I can imagine how artistic they are.

2.What do you think about Polish electronic music? What projects do you know?

There are many creative and independent musicians to contribute in this field of art. They are much activated and caused many culture exchange events in the latest years. As a result, I am lucky enough to know polish arts. Such as Łódź Biennale, Polish art in China, and now we have ChoP project.

3.What equipments do you have when composing and making music? And what equipments do you have when playing live?

I have laptop, guitar, pedals, pipes and other little instruments I can make sounds. In the past live performances, I have used guitar + laptop + pedals + software effects. It could be more interesting to explore more DIY equipments to use in the future composing and live.

4.What kind of music do you expect about our Chop – rather chill and easy or rather something experimental and noisy?

I would like experimental and Lo-Fi stuff, but not to make it purposely. I hope our project is a random crash. I make what I have thought currently, you make what you are thinking all these days, and then we use cut and paste, distort or recompose each others materials. I think this is a kind of way to exchange our cultures—although it cannot presents all of our both cultures; those sounds/materials which we will have made are the sediment of our outside culture environment and could also reflect the whole culture in some kind of ways. In addition, I do not want to dangle after a specific or interested style on purpose. I want the project is promiscuous, comprehensive, and full of multi-contents reflection. For example, I hope I can perceive the pressure when I listen to the album in a loud volume, or meditate when listening in a faint volume. It can also turn to a proper volume that melts into the sound of environment to balance everything as a whole and let listeners feeling all of these equal sounds. I would like to fall asleep, or awake. Of course, this is an ambition. So, let it be. Cause we do not know how is the album will like, maybe bad than we propose. I do not want to do it once I feel I have pressure, you know, it could turn something really bad sometimes.

5.When did you start composing music and why you choose a computer technology to make it?

When I was 17 (after I have learned how to play acoustic guitar), I wrote some folk and rhythm songs. It was limited by what I have heard that time. Then after time passes, I am now standing on my position. It is not to make it on purpose, no pressure as I have said already, I only have free and happiness.  Computer is a human invention. It brings positive convenience, but also negative things. For me, the technology helps me avoid the bondage which is to deal with different people. Because I have bands before, members are so intelligent—it is good. However, this changed to uncontrollable, and then the important thing is that the free and happiness has gone. Too much things to associate with, in fact, it is nothing about music! I feel it is no more interesting anymore until I have found the computer technology. It changed my whole world. First, computer is always there for me, it is not gonna agree you or not, what you do with it, it presents from the AMP. This is a brand new freedom and world—I can actually do things like that! That is amazing! It gives me endless inspiration and incentive. Although it is easier to dominate the computer than with people, I am not saying I want to control it completely. Yet I would like to give up such an attempt. I would like to think the computer as a chess player, we play chess, and I prefer this way of cooperate with my computer. The computer and I are both equal. There are only art between us—not other things which outside the art. On the other hand, the computer makes me have to suffer for the painful of my eye and neck indeed,--this is also a metaphor.

6.What electronic musicians are your best? And why?

There are many excellent foreign musicians and Chinese musicians. Such as Dickson Dee, from Hong Kong, China. Not only his work, but also what he has done these years. The developments of most Chinese new music were caused by his effort. Yan Jun, now living in Beijing, hatcher of the most famous experimental music/new music/sound art event in China—, has contributed the literal of new music and provided revelation and enlighten for us. Zen Lu who is living in the same city as me, also one of the founders of the ChoP project, has made lots of abstract and peaceful works. He is a man who blends art into the daily life in deed (you should know how hard it could be in my lovely city). Other foreign artists, such as Otomo, Japanese sound artist, his insists and efforts are the light in the dark. Zbigniew Karkowski, one of your Polish geniuses, the energy in his works were really shocked me when I first listened. It brought me into a new position of thinking about art and other more things. And other more and more good artists… I think artists should have greater thoughts and spirits at first, which beyond their great works. This makes me not only listen to their music works, but also willing to know what their thoughts beyond those works (according to their literature, interview and etc.). As a result, I have the time which I can use in listening is not that much in deed—this is my shortcoming.

7.What is your favorite book?

A book which was written by Franz Kafka, and other his novella.

8.What is your way to play live – if you improvise or rather you have everything planed.

It depends on what kind of live it is. Sometimes I made materials beforehand and have a brief structure in mind, and then to mix and control freely during the performance. Sometimes it depends on what happened in the live. Maybe I will not use what I have prepared. So that should be a very good time, the incentive I can catch, I would improvise afterwards. I hope these two ways to play 50 to 50 during my live. But I will concentrate more on the later one in the future.

9.What is Your the best net site?

Google,it helps me to know new music and other interested things.

10.What do you think – where is the beginning of the electronic music?

I am not that sure about it. If look back into the history, the beginning of electronic music should be the invention of electricity. Then is the invention of speakers and microphones (pickup). If look into the style, I think the beginning is the 80s dance music maybe. I don’t think I can answer exactly because of my lack of music knowledge.
Thank you for your questions!

designed by Hei Lee in Guangzhou

在ChoP vol.1的创作中，我和Greg曾经就各自感兴趣的话题作相互访问，遗憾的是在后面两个系列的创作中，没有继续。而在ChoP vol.4的创作中，这种有趣而且有意义的工作将重新开始，我希望在之后的每个ChoP系列中都将延续，ChoP不仅仅通过声音交流，文字同样是交流的一部分。

ChoP vol.5波兰方面的人选已经确定为年轻的MORE,中国方面的人选还未确定，希望大家帮忙推荐。

Chop Vol. 3-Improvision
Sin:Ned(Hong Kong)+Minoo(Poland)
Track List
(1)   Demons in Ion
(2)   Dimension On
(3)   Dis-Neon in Om
(4)   Dines in Mono
(5)   Mind Sine Noon
(6)   Mind Noise On
(7)   Dimension No
WPCD005
P+C 2008 We Play! Records
www.weplayrec.cn
www.myspace.com/weplayrec
www.myspace.com/chopart

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

Eta Carinae – Home

1. touch feel save
2. buying warm heat
3. where young people live
4. greenhouse gases
5. where is your home?
6. while resting and looking around
all tracks recorded by greg bojanek
guitar, piano, field recording, electronics: greg bojanek
mastering: tom pauszek
designed:Hei Lee@Altscape Creative

P+C 2008 We Play!     wpcd004

release date:April 2008 

www.weplayrec.cn

www.myspace.com/weplayrec
www.myspace.com/ecmyspace
inlay

poster

以下评论转自altview blog：
有幸抢先听到这张专辑，极力推荐！！

greg bojanek出现在we play!唱片chop计划第一辑中的波兰人，eta carinae他的个人独奏方案，ambient风格的旋律加声效编辑，听感轻松自然，层次演进细致流畅。其中where is your home剪录波中口语教学节目加配空灵音景，十足飞跃中波两地领空间的无线短波，一句不断replay中的标准普通话“你家在哪里？”，让思维慢慢飘进“有家亦无家”的禅性意象后渐渐参悟和飞远。这不单是一个外国人对家的“顿悟”，也是为浮躁的中国人而写——save your home！

对全部6首作品只有四字评语：上乘佳作！

言猶未止，We Play廠牌主腦陸正(ZenLu)在不足一年的時間，伙拍本地White Noise唱片店，隨即移師香港牛棚藝術村內Videotage進行新一浪的攻勢，於今年二月廿九日舉辦We Play White Noise音樂會，藉此深化聽眾對新世代聲音藝術的認知之餘；同時亦推出廠牌的第三款作品，ChoP Vol. 2 (Dickson Dee & Tomasz Pauszek) ~ 8 Rooms。

除他自己以外，此次活動更邀請了專輯的其中一位主角Dickson Dee，連同Sin:Ned及深圳實驗音樂新銳份子 ~ 劉淳，進行另一次的匯演。

打從得悉此事之後，難禁興奮莫明，熱切期待。另一方面，心裡也暗測今次的表演，能否延續上次的佳績，並引進全新體驗？經過昨晚的觀賞後，答案絕對是肯定的。

劉淳以精湛的黑暗氛圍，為音樂會揭開序幕。深沉而內歛的旋律，極具感染力；還有那劃破夜空的敲擊，勾勒出一幅頹垣敗瓦的荒蕪景像。尤如千古廢都，長埋茂密原始森林，人跡杳然，不見天日。

樂風素以編排靈巧、肌理分明見稱的陸正，再展匠心獨運的聲響建構，演奏出幻化多變、醇厚試鍊的電子樂章；觀眾的意識亦禁不住隨聲音游走，頓失引力往上飄浮，被拋擲至太虛幻境之中。

夢囈般的頌唱，隱伏於稀薄的電離層，猝死在漸趨暴烈的電擊搶攻下。Sin:Ned秉成破格求新風格，將原初的幽異空間，注滿扭曲狂颷的衝擊波，銳不可當從四方八面淹至，瞬即侵吞一切，並挑發體內每根神經，恍若置身遠古祭典儀式，狂舞達至失神狀態。再者，箇中神髓又似乎預示著未來ChoP vol.3 (Sin:Ned & Minoo) 合作計劃的倪端！

以香港實驗音樂元祖此稱號來介紹Dickson Dee，並由他來擔當壓軸的演出，敢說無人非議。橫向電子噪音逆襲，無止境地延長，像無跡可尋的海嘯，從漫長的海岸線，不明出處的襲來，具備龐大能量力牆，頃刻擊潰眼前事物，卻又嘷然而止，令人猝不及防。

此次的音樂會，可說是兩地實驗樂圈的又一盛事。不論是樂手或樂迷，我們都在見證中國南沿兩個城市對前衛實驗音樂的共容與連合；也期盼日後跟臺灣、杭州、上海與及北京等地方結盟，創做出別樹一幟的獨特中國聲音藝術領域。(text/Nihilist www.sonicity.org)

We Play White Noise --ChoP vol.2 release concert

Artists:Dickson Dee(Hong Kong),Sin:Ned(Hong Kong),Zen Lu(Shenzhen)

Guest:Liu Chun(Shenzhen)

Date:Friday 29th February 2008

Time:8:00pm

Venue:Videotage

Add:no.13,Cattle Depot Artists Village,63 Ma Tau Kok Road, To Kwa Wan,Kowloon,HK

0rganized by:Videotage,White Noise,We Play!

Ticket:70HKD door only

Enquries:25910499, 25731869, whitenoise@netvigator.com  weplayrec@gmail.com
More info: www.videotage.org.hk  www.whitenoiserecords.org www.weplayrec.cn

www.myspace.com/whitenoiserecordshk www.myspace.com/weplayrec

Designed by Hei Lee@Altscape Creative