Poland's history of electronic music had difficult beginnings. Here discover untold
stories of its forefathers, Biliński, Rodnik and Komendarek, who despite the obstacles
of living behind the iron curtain, found their own creative spaces and defined a unique
strain of electronic music in Poland. We'll hear, in their own words, about the lives
and experiments of these pioneers, and we'll meet young synth explorers who carry their
torch for a new generation, staying true to their hard-won creative freedoms, now sharing
a stage with the older generation too.
The electricity revolutionized the music of the 20th century to the colors that had been
for the past few hundred years. Acoustic colors came with electronic colors.
It's about sinews, rectangles, squares, piles, abstractions. But it has to
deepen our imagination, not to melt it.
Synthesizers sound the best in themselves. The biggest misunderstanding is to follow
the acoustic instruments on synths. It's a riddle. It's great, it's not real.
It's very important to create an amazing atmosphere in your head, and only thanks to
the instrument, the type of synthesizer, you can pass it on.
The first album was written, because it was the fruit of all my dreams and ambitions.
It turned out that it was something new on the Polish album. It was called the first
electronic album in Poland. It was about freedom, and I felt free.
It was therapy at the time, and maybe for other listeners, it was therapy to
survive this time.
I was involved in music, and I found this zone of freedom.
There were no words in my titles, because there were no songs.
There was music that couldn't be caught. I was confused.
The listeners decided that there was freedom in this music, which we don't have
every day, because there are restrictions everywhere.
Everyone was interested in freedom, and something like that happened.
It was forbidden and forbidden for us.
In the middle of the 1950s, Józef Patkowski was a musician who knew the language.
He was in Paris, he met with the first Faire in the studio of electronic music in Paris.
He was in Cologne, he met with the paper of electronic music by Karl-Halz,
Sztokhausen, and he came up with the idea to make a studio of electronic music in Warsaw.
No one knew what it meant, but most of the dissidents were against it,
especially because it was brought from the west, and everything that was involved in the west
was even in Cologne. The drinking of Cologne was considered in the early 1950s as an invention.
And he invented this studio, and we all started to be almost immediately known in Poland,
because it was a time after the Polish October, after 1956.
It was a very creative period in Poland in general, and in the culture of peculiarities.
So I worked as a technician and as a sound engineer.
After that, I started to compose some small structures,
not as a knot, having a lot of free time and a boyish workmanship.
It turned out that they were coming out, and after a few dozen years I became a composer.
I made my own songs, more than 100, because I still had easy access to the studio and ideas.
After a few years, I built structures that critics or authors of the comments had a boyish definition.
Whether it's a hearing, or a report, or a particular Cologne music,
whether it's God knows what, I felt the whole thing,
because art cannot be so precisely defined.
The more unreadable the form is, or difficult to define, the more interesting it is.
The sound, the sound, the unreachable, abstract,
because it only existed at the time of the generation, or the instrument or the voice,
when there was a brilliant carrier, a tape recorder,
where I could record a piece of text, or record a hit in the plate,
or record the recording of the strings, cut it off, take the tape in the hand,
glue it in the brush, put it on the recorder, change the speed,
record 10 bars, and then I made the structure.
I specialized in garbage, which are not artistic objects,
which were thrown away as unsuccessful objects,
when the music was recorded in a radio studio.
And now I call these sub-materials,
by the fact of taking it into your hands.
When I also give transformations, it already starts to be a completely different object.
Every music has its own frames, but I personally do not carry them.
What does it mean that you cannot use the voice in electronics?
I broke it, I was talking about the Polish market.
When I have an instrument in my hand and I press the key, I hear the sound,
then at the moment I am shaping the so-called creative work.
And I also like something very weak.
It develops very quickly.
I break it, I break it, and it ends in such a fire
that some electronics would not be able to get out of the concert.
If I pour out what my soul feels, it feels very good.
And if I do, why did you rap, my friend?
And why did you cross the river with heavy metal?
I simply do not go from 5 years to any pornographic companies,
because I am open, and no, that someone will tell me
that you cannot cross the river with anything,
and it is not connected, because it is, I have enough of it and I am free.
I always liked the so-called boom, but someone has to hurry up first.
Later, some people will assume, aha, aha, how can you enter the opera, how can you do it?
Well, you see, one is brave and now more people are playing it.
But someone has to start.
In my opinion, when it comes to the canon that music is like this,
then there is electronics, and then there is electronics,
and then there is savagery.
No, no, because for me, ideology does not exist.
I do not care about games and my friends in space,
but we just have to develop civilization.
I dream of finding myself at a height of 40,000 meters above the ground
and having a device in the space and creating, looking at the ground.
Because I feel that it was definitely different music.
In space, it is always good, simply because there is greater freedom.
No one dictates how to wear a dress,
no one dictates any ideology, that it is functional, it is not functional.
In 10 years it will be invented, it will be different.
In 50 years it will be a new one, and so in the circle this humanity is getting tired of it all.
And it is very important to develop technology, to develop civilization.
I record my solo piece with the so-called The Phantom,
mainly a melancholy electronics with a lot of romanticism,
in a position that is attached to nature.
It always pulled me towards abstraction.
The music I record is a piece from the United States of France and Belgium.
I am also involved in the group of birds.
I am, in a sense, an outsider, because I live in a rainbow, not in Croydon.
Although the album of the group of birds was also a soloist in shops in London,
until recently, the previous internet store did not want to write it.
The first albums I bought were mostly Polish artists' albums,
which were easily available in antiques, commissions, on retail stores.
You could often find them on the album of Marko Bliński,
Czasowanymena or Andrzej Korzyński.
By the way, the project of the birds, we were probably surprised by some 2000 Polish albums.
The number of collectors of electronic music in Poland in the 1980s,
I think it was quite a lot.
The interesting thing was that this group came, such as Krabwerk, Danger in the Dream,
Klaus Schulze, who were still released from concerts in our country.
I think that, in a sense, the trip and the fact that more and more foreign DJs began to appear in Polish clubs,
inspired me a lot in my work.
For Polish artists, this circulation of ideas between nations has always been important.
It is about a certain openness to what is happening outside of the country.
I am most interested in the sound, the sound itself.
It can come from different sources, an absolutely essential species.
My father was lucky that he worked in the 1980s outside of Poland and brought us this album.
After finishing high school, I did not have any plans.
I became an absolute amateur musician.
This was the hottest and most interesting artistic period when hip-hop was created in Poland.
At the same time, I was recording instrumental music all the time, which was shown in the Netherlands and in a few other countries.
I was very interested in the study of experimental Polish radio,
i.e. folk music and, above all, Kotoński.
Poland is very interesting.
Culturally, for the past few decades, there have been some strange instruments that have been transferred to everything.
The mentality of the people, how music was produced,
because only in state albums it was possible to record music like this.
Someone could, someone could not.
Some of these restrictions were very mobilized,
and the doors were not transferred to any relative of the artistic level.
What drives me is the creation of a characteristic Polish music that will be universal,
that will only be produced in Poland, and that will be appreciated in Poland.
What is positive is that a lot of such small things happen,
small works, small labels, a lot of young people like music
and in a country that is not very big, very interesting,
or a very interesting story.
The soundtrack for this film is, for me, a challenge that will be the obstacle.
The material will be the entrance, the creativity,
the people who are legends.
The name of the commander, the peasant farmer,
everyone who respects the enthusiasm of electronics,
the sound generated by electronics should change, at least in this country,
one theme.
What I want to do with music,
that is something accidental,
everything that I played on the computer,
what I saw on VHS,
and what my parents released from the album,
so that I can scan my own internal nerd,
I started collecting instruments.
The entrance from the hardware program serves to have the feeling of
a completely direct control over the sound I make.
For me, it is a more comfortable form of making music,
that I can turn around,
that I can move my hand,
it's just easier.
It has changed a bit in our use of electronic music,
in this sense, it has changed the West,
that, of course,
it has made the dance less abstract,
it is created on a level of equality.
For all the young artists,
who are more and more,
there is absolutely no complexity,
because it just sounds good to me.
I am a musician, in fact, since childhood,
I have been playing music all the time,
whatever it was,
when I moved to Poznan,
I met Bartek and I began to create music.
I actually met electronic music through the back door.
The most beautiful thing about synthesizers
is that they really can surprise a person,
sometimes it is enough to change one parameter,
to switch one switch, to twist some nut,
in such a way that we would not be able to imagine.
Our initial plans were to have a great time on stage,
and to make very good music,
and I think that these plans absolutely did not change.
The work in Rebeca is sometimes a turning point.
Sometimes it is also so that we sit together in the studio
and we just start, we start the game
and a new song is created from it.
I do not follow many directions in the world,
it inspires me all the time.
You just have to be open-minded all the time,
to try to surprise listeners and artists,
with whom I work,
and this is done not by
too much of these tracks, but by looking for new ones.
Rebeca
Rebeca
Rebeca
Rebeca
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