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Hiaz.ZbigniewKarkowskir1.1 - 05 Jul 2005 - 20:44 - TWikiGuesttopic end

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Interview by CarlMichaelVonHauswolff? (1989)

Can you tell me something exciting about your music!

ZK: Yeah, my music is really good, as a matter of fact it's the only good music that I've ever heard in my life. It's like good sex, it gives me a hard on.

Your performances and records create very often an atmosphere of a constant, massive sound terror. Which is the reason for it, do you have any artistic concept or strategy behind it?

ZK: Well, you might say I have a biological reason for it. You know, everybody is filled with ideas and preconceptions about how things should be. In a concert situation, when you listen to the piece of music you don't hear what is actually played. You hear that what you want to hear, what you expected to get when you bought your ticket. I want to bypass that. I want to create a music that will go beyond the brain, thoughts, expectations, ideas. My music is not directed towards the mind, it's rather organic in the sense that you are forced to feel it with your whole body.

It is also extremely loud.

ZK: Yes, I like to play on the level where you don't actually hear what you may call music anymore. You cannot even hear your own thoughts nothing. The sheer strength of sound becomes the only physical presence and only then you are allowed to feel it in the right way. It's kind of a pure, primal experience. That's exactly why I have chosen to work with music, because it's the only media that works on the level of actual physical experience. All other art forms are rather passive and descriptory, they are only about something. Sound is a measurable, physical phenomenon of vibrations in the air. Whenever you listen or just hear the sound, the pulses and frequencies affect you in a very subtle way and there is no way of escaping it. You have to be aware that sound can literally heal or kill you. One can use it as a weapon.

How did it all start, what influenced you to do these kind of things?

ZK: As I said, music or just the sound itself is a very active phenomenon. It influences you all the time, it inflicts things on you, it can manipulate you. Some years ago I noticed that most of the existing music couldn't fulfill me. It carried very ordinary and stupid messages. It taught you obedience, compassion, patience and all those kinds of things. I saw how it influenced other people and I didn't want those kinds of influences to affect me so I started to do my own music.

You have studied composition at the conservatory and you have been involved in the contemporary music scene here in Sweden and on the continent. Do you have any contact with it now? Do you still write serious, contemporary music?

ZK: First of all, my music is very serious, it's a direct manifestation of my presence in the world. Every decision I take during the process of composition is an expression of my involvement with life. By making music I create, participate and comment upon the world as I see it. So these matters an not indifferent to me. Talking about the contemporary scene in Europe now, well, I have noticed that the only thing I have in common with other serious composers is precision. I'm not interested in the form of their music, their language. I believe that music should deal with concrete, existential ideas, it should work as a trigger for release into a more intense form of existence. Most of the music done today doesn't deal with ideas at all, it seems as if the people making it think that music cannot "say" anything. They see music as something formal, objective impersonal, an artifact. I find it strange that they don't manufacture spare parts to replace those that become worn out by performances. I'm interested in basics, I don't like to deal with abstractions, man made systems or methods. They are at the wrong direction, they turn the world into a bad fiction.

And what is the message hidden in your music?

ZK: You know, all art and especially music is basically magical in origin. In the past, it was originally used only for ceremonial purposes and in order to produce very definite spiritual effects. In the domain of magic nothing really happens unless some wills it to happen and there are a lot of certain magical ways and practices to channel and control the mind. The same concerns arts because a true artist always tries to make something happen in the mind of the listener, reader, viewer etc. An act of creation should always be intentional and functional. I truly believe that we live in a world of fiction and the message is basically only one: " Nothing is True, Everything Is Permitted". It comes from I Hassan I Sabbah, the founder of the Order of the Assassins in Persia - 1090. He taught his doctrines, introduced hashish to the Western World, trained very skillful assassins and did a lot of other interesting things. I His sect was wiped out in the 13th century but his ideas live until today. And they matter as much as ever.

How do you want people to react to your music?

ZK: Alter a concert I want them to feel as if they just had a good fuck.

So, what do you think about the future of music, do you believe in the future?

ZK: Yes, I'm very positive about the future. The coming of new, cheap technology broadens the spectrum of people working with music and it diminishes the importance of big institutions like major computer music studios and conservatories. These places used to control much of the musical developments that happened over the last 20 or 30 years. You know, institutions and conservatories are already filled with second and third rank artists. The most creative ones become millionaires by the age of 18. We're gonna see more of it. And generally, I really think we live in a very interesting period of time. Look at Acid House, the way people are dancing, it's actually all about getting in trance, an individual act of self-hypnosis. There is something very lonely about people today. And it's good because even though we live in social environments like towns or families, and even if we don't like to think so, we basically are and always have been alone. We are in an absolute solitude as individuals. Whatever you do, it's always an individual problem and all the great achievements of the human race, all the great art ever created has always been based on an absolutely individualistic and very personal statement and understanding of this fact - in the end we always stand alone.

And what about your music, say in 10 years from now?

ZK: Oh, I really hope that nobody will want to listen to it then, but if they still do and if they like it... then something will be very wrong with the world.

Do you think that you will ever be successful?

ZK: If a character like Stalin, Pol Pot or Idi Amin becomes the next Swedish Minister of Culture'' my music will be heard around the clock in all elevators, supermarkets and on all radio and TV stations in this country. Then I'll be very famous.
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