I arrived bit late for this one but still got to see more than a half of a very long 1st set (around 80 minutes). It was Martin Kuchen's name that attired me to the event although I knew well it would be something completely else than the music he plays with Angles or Trespass Trio (fabulous bands by the way). With Herman Muntzing he would create a long electro-acoustic improvisation that had clearly nothing to do with jazz. It would be indeed hard to say what had it to do with.
When I entered the place I could see both Martin and Herman sitting on the floor of the stage, both surroundered by all kinds of objects, somewhat of an installation. With all kinds of drones buzzing and bugging at the end of your head they would create a spare, minimal, meditative and hypnotic sonic enviroment. In a way that every, usually circumstantiall, aspect of sound is valid, every hiss, click, noise, whisper. Something that is completely zen, pure, floating over the reality.
This is sound creation where all of the aspects of traditional music get mixed. It is as much about the visual and stage performance. It is all about sounds not notes, not rhythms, harmonies or else. Texture is both form and substance. Where repetitions that appear seem to follow some secretive mathematic equations. Where sound is trandescent. Where instrument is treated like an object (body of an instrument used to produce the sound), but also any object can become an instrument.
The most accurate review of the concert could well be just a complete catalogue of objects on the stage, I managed only to make a part of those. A toothbrush, 3 electric toothbrushes, glass, metal plate, metal bowl, knife, plastic tubes, shoe cleaning brushes, toy car, razo machine, pocket radio... Especially Herman's electronic installation is impressive as he wires simple objects and throug some kind of amplifications creates different waves by touching those with different objects. Imagine reverb of the sound without the send, magnified thousand times...
For the second set they clear some of the stage, leave only a handfull of accessories and invite Michal Dymny (guitar improviser from Krakow I've written about already on couple of occasions: here for example). He adds more dynamics to the proceedings, the sound are more busy, the texture is dense and deep. And he proves as able in experimental ways of guitar plucking as he straps the strings with a wire, plays on them through a metal plate or us a mini-fan. The 'music' is also meditative but more in a trans way, not just floating but also disturbing the air and more energetic set, making for a good balance of the entire concert.
Inspiring and unique experience. And that is probably the ultimate goal of this kind of art. Not music, not performance but common experience of an entirely different reality.
Martin Kuchen - alto sax and objects
Herman Muntzing - balalajka, self-made electronic and string devices, objects
Michal Dymny - guitar, objects
Swieta Krowa (Holy Cow); Krakow; 14.04