Jacaszek is an author and producer of electroacoustic music, combining electronically prepared sounds with acoustic instruments. “My music is an ambitious plan: I want to create my own personal and recognizable musical language in which electronic manipulation of recorded sound is going to enrich traditional acoustic instruments. The motivation of these experiments is discovering the hidden and universal beauty.”
We had a chance to talk with Jacaszek about his latest projects and plans for 2011.
1. Tell us about your past releases before participating on the SMM: Context compilation?
My debut album was recorded for a small polish label called Gusstaff. The “Lo-fi stories” were based on samples taken from tapes of fairytales for kids. Then I did some collaboration with poet-singer Milka Malzahn. I produced “Sequel” which was also released by Gusstaff. After moving my interest towards classical music, I started to sample pianos, orchestras, and together with live cello, violin (beautifully arranged by Stefan Wesolowski) and soprano singer Maia Sieminska, I produced Treny. My last album was called Pentral, entirely arranged with a use of field recordings I made in gothic churches in Gdansk.
2. You have recently composed film scores and theatre music. Can you tell us more about these projects?
Well, I’ve been doing quite lot of soundtracks recently. In 2010, I produced a score for feature-length movie “Suicide’s Room” by Jan Komasa, Marc Silver’s small, but beautiful etude “There Is No Others, There Is Only Us”, and a film by Ania Maszczynska-Bak called “Tomorrow We’ll Be Parents.” Also, lots of documentaries, a theatre play, two cartoons for kids, and commercials.
3. There is a performance you played in Porto, Portugal where visuals were being projected onto what looks like a prestigious and old building. What was the experience like?
We played at Sao Bento da Vitoria Monastery in Porto which was rebuilt and turned into a concert hall. It was a very nice experience. I collaborated with baroque players and great video artist Pedro Maia who used the facades of the building as projection screens. We played rearranged Pentral material which worked great with this kind of surrounding.4. Do you feel Poland affects your mood and tone of how you compose?
I wouldn’t like to mythologize my music in any way, but I’m sure a kind of “polish spirit” or “northern atmosphere” is present in my compositions. I live here in a land of greyish clouds, fields with distant trees on the horizon, the sea, lakes and hills. It definitely affects my sound. I actually often bear in my mind images of beloved landscapes when I’m working on music.
5. What are your plans for 2011 and beyond (releases, projects, touring, etc)?
I plan to release my next full-length album later this year. Also, I have an idea to work with vocals and do some music based on poems.. I also dream to work with sounds of the trumpet as it moves my emotions strongly. I will play a couple of interesting gigs this year. Plans include Borderline festival in Athens, Greece, Bozar night in Brussels, Alphaville Festival in London, C3 Festival in Berlin and Unsound/Krakow this autumn.