Reviews Zarek14

As said, Schick uses the same set up in his concert with Dawid Szczesny, who plays ‘laptop & software’. Together they already released a CD on Non Visual Objects, ‘The View Underneath’ (see Vital Weekly 599). This duo also played various concerts over the years. The Geneva recording was made in 2008 , and mixed a year later, although the press text suggest there wasn’t done a lot after that ‘no after editing, overdubs or cuts were applied – the material was solely mixed and mastered & track indexes were added’. If the duo with Belfi is a meeting of two minds that aren’t alike, it seems here that we have two minds who are more alike. Like on their previous release, they operate from a more drone like, microsound like world. Hissy sounds, cracks, but also the rotating cymbals on Schick’s player, played with a bow to add overtones to the whole. At times the playing is very close, so that’s hard to decipher who does what here (if such a notion is at all necessary). Apparently Szczesny uses ‘jazz’ samples, but whatever he has done to harm them, I don’t recognize any jazz in here. However, just like the Belfi disc this is a particular strong one, although it sounds entirely different. Very much close together, this mass of hissing, cracking and rotating sound, like a swarm of insects surrounding the listener who sits next to a ventilator in some tropical village. Excellent stuff, once more.

Frans De Waard – Vital Weekly, February 2011

Geneva marks the second such release of German/Polish duo Ignaz Schick and Dawid Szczesny, and is the unedited recording of a live set performed in, as the title of the disc clearly states, Geneva. The singular set features several different explorative moods, and could almost be split into many individual tracks, however such is the skill in which these artists deftly move from light to shade that it takes a fair bit of attention to even notice that they’ve changed their minds on their current heading, and have set off in a totally different one. Which is, after all, what all great musicians are capable of.
For this set, Schick takes up sonic duties on turntable, objects, gongs, bows and looper, while Szczesny dutifully covers laptop and software manipulation. Slips of motorised cymbals quietly blend and fold amongst what could almost be described as someone breathing underwater. Squeals, clicks and beeps quietly sound off between one another like an attendance roll call at a school for troubled electronic instruments. What perhaps was once a sample of a horse neighing slides past. Despite it seeming to be randomised blips and scrapes, there’s an evident order at work here. One seemingly speaking of natural exploration. A quiet maturity. This is quite clearly two very disciplined artists having a sonic conversation. Nothing is forced, and nothing competes with anything else, to such a point that it could almost be considered a planned work, be it not for the ‘organic-ness’ of how it unfolds, each high segueing into low as all natural conversations have a tendency of doing. While long and minimal, it is also quite focused. Nothing seems out of place. Each part fails to clutter up anything else. This sense of restraint is an ability no doubt learnt through the various concerts and tours they have performed both as a duo, and as solo artists in their own right.
When thinking about the piece as a whole, the one word which constantly came to mind was ‘organic’. Somehow from such an synthetic, electronic palette, these two artists have managed to craft something compellingly ‘human’ sounding, in both composition and texture. To make such sounds interact this way is by no means a simple task, but one which Schick and Szczesny pull off without breaking a sweat.

Nick Giles . Cyclic Defrost, May 2011

Another subdued outing from Ignaz Schick, this time performing with Dawid Szczesny on Live in Geneva (ZAREK 14). Schick provides mostly physical objects (turntables, bowed things, percussion) and Szczesny the electronic dimension with his laptop software synth. Mostly rather smooth and droney textures will await you here, though they do manage some abrasive moments. Only a few years ago you used to hear this sort of material in great abundance from Günter Müller and his pals on his label For4Ears, though many of his releases were much heavier on the “iPod fizz” effect. Maze cover art by Andreas Töpfer.

Ed Pinsent – The Sound Projector, 2011

With Szczesny, the language is more song-like, again in releatively short spans, but the laptop and synth material often lacks definition. leaving Schick drifting or suspended. That may have been the intend but is less convincing.

Brian Morton – The Wire, April 2011

Wie wichtig ist es, dass man sieht, was die Musiker eigentlich machen? Eine Frage, die sich bei Aufnahmen von Livekonzerten immer wieder stellt, gerade bei elektronischer wie auch irgendwie “experimenteller” Musik. Die hier ist beides. Und die dreivirtel Stunde Knistern und Knarzen, Schnurren und Schaben, Jaulen, Piepsen und nicht zuletzt Sirren und Flirren, die Schick und Szczesny im November 2008 in Genf präsentiert haben, hier in fünf Happen zerlegt und sonst inberührt gelassen, zerfällt tatsächlich in zwei Teile: Klänge, die man sich irgendwie vorstellen kann als Lautäußerung von allerelei Objekten, die auf Turntables rotieren, womit im Wesentlichen Schicks Part umrissen wäre und solche, die nicht, womit diese dann, so denkt man, für Szczesnys Laptop und Software übrig bleiben. Rätselhaft, denn dieser zweite Teil wirkt meist so unscheinbar und schwer zu ermessen, dass er das Durchhören der Struktur zum Vexierspiel macht. Umso klarer und flüssiger der Ablauf, den die zwei ganz entspannt spannend halten

De:Bug – May 2011

Mit gleich zwei Alben ruft sich uns der Turntablist und Elektroniker Ignaz schick in Erinnerung. Ganz so, als ob wir ihn schon vergessen hätten. Mit Dawid szczesny aus Polen, auch er ein Elektrolurch, hat Schick schon einmal, damals auf dem NVO-Label, eine Platte eingespielt. Das hier ist ein Mitschnitt, der live in Genf gemacht und auf Tonträger gepresst wurde. Als ich das Duo live in Linz sah, wurde mir die Sache als feinnervig, auf den mikrotonalen Bereich konzentriert bewusst – aber in absehbarer Zeit etwas zu eintönig. Vieleicht funktioniert diese stille Grösse optisch weniger als rein akustisch. Immerhin klingt die CD wesentlich besser, als es die Erinnerung versprach.

Freistil April/Mai 2011

Une nuit de novembre 2008 à Génève, on l’imagine déjà imprégnée des premiers frimats hivernaux. Un lieu étroit et pittoresque (l’Ecurie) fréquenté ce soir-là d’esprits dévoués à la cause électronica – nombre d’entre eux doivent être fans des productions Crónica. Un duo germano (Ignaz Schick) – polonais (Dawid Szczesny) en performance live intégrale, consécutive à leur début ‘The View Underneath’ échafaudé sur le label Non Visual Objects quelques mois plus tôt. Cinq titres joués à coup de turntable, gongs, laptop, arcs et boucles, voyage fantasmagorique où z’ev approcherait @c – à moins que ce ne soit Figueras, Toop & Burwell. Un surprenant échantillonnage sonore – où l’abstraction devient concrète, alors que, peut-être, le palpable incandescent s’effrite en un éther industriel, cherchez l’interstice – tout est toujours question d’ouverture sur l’au-delà. Peuplé d’instants graves, agité de peurs ancrées dans nos instincts primitifs, affrontant les Zoroastre modernes dissimulés dans un monde numérisé – il n’est pour autant nullement déshumanisé. Appliquez les sous-couches bruitistes en siphonnant une liberté post-free jazz, imprégnez-vous d’une  tentation expérimentale qui n’alourdit jamais le propos, particulièrement sur le ‘Movement 4’, digne des plus belles heures de l’officine viennoise Mosz. Laissez poser le tout, quelques nuits rêvassées durant, l’effet durable est garanti – pour une redécouverte permanente de saveurs assumées et sans complexes.

RifRaf – June 2011

Collaboration entre le platiniste-électronicien expérimental Ignaz Schick et l’électronicien (laptop) Dawid Szczesny, enregistrée en concert. Cinq pièces ultra délicates, faites de sons épurés et de textures présentant peu d’aspérités. Une écoute abstraite mais en douceur et envoûtante.

A collaboration between experimental turntablist/electronician Ignaz Schick (Perlonex) and laptop artist Dawid Sczcesny, live recording. Five ultra-delicate tracks made of sparse sounds and textures with few asperities. An abstract listen, but very quiet and bewitching.

Monsieur Délire, February 2011

seconde sortie pour ce duo allemand/polonais et immense découverte pour l’écoute. Les 5 mouvements ont été simplement enregistrés comme ils ont été entendus lors d’une nuit italienne. Des petit sons fins et aiguisés, chauds, un peu “noise”, un peu “drone” et dès les premiers sons, une musique nouvelle inaississable qui captive, à domicile.

Polychromic – April 2011

Deze Duits-Poolse vriendsschap resulteert al een viertal jaar in regelmatige releases. Op deze onbewerkte registratie van een concert in Genève (2008) lijkt de taakafbakening wat strikter dan bij eerdere gelegenheden. Terwijl Schick ter plekke klank genereert met onder andere draaitafels, objecten, en een gong, lijkt Szczesny voor het controlement te zorgen vanachter zijn laptop. De klankmanipulatie van Schick leidt al snel tot loops die afgewisseld worden met nieuwe concrete klanken. De aanwezigheid van een gong lijkt een onweerstaanbare aantrekkingskracht uit te oefenen op de Duitser, gezien ze zeer vaak (zowel akoestisch als in de vorm van drones) terugkeert. Net wanneer we de ogen sluiten om ons onvoorwaardelijk ritueel over te leveren, wordt de sfeer letterlijk doorboord met geschraap, clicks, en computergestotter.  Af en toe wordt ook een pompende noiseloop niet geschuwd. Om van elk concert iets unieks te maken, worden natuurlijk ook de omgevingsgeluiden mee opgeslokt. Ondanks enkele hardere momenten in vrije stijl is deze cd zeker aanbevolen aan liefhebbers van experimentele dreunmuziek.

Gonzo Circus 5/2011

In quindici anni di attività il tedesco trapiantato a Berlino Ignaz Schick ha perfezionato una tecnica personale che utilizza un giradischi, un microfono a condensatore e oggetti di diversa natura (legno, ferro, plastica, etc). Con l’amico Dawid Szczesny (laptop), Schick ha presentato dal vivo una dimostrazione della sua ‘real time music’, documentando poi con un disco il risultato ottenuto. Molto più astratto di quanto registrato con Belfi (vedi recensioni qui sopra), pur utilizzando la stessa tecnica e in parte gli stessi strumenti (gong compresi). I cinque movimenti del cd costituiscono un flusso unico, dove lo spazio si dilata a dismisura mentre eventi sonori di ogni natura cercano di delimitarne i confini.

Roberto Mandolini – Rockerilla

Non è la prima volta che i nomi di Ignaz Schick e Dawid Szczesny si compongono per una pubblicazione a duo. Successe già con The View Underneath, uscito per la Non Visual Objects tre anni fa. E anche Live In Geneva vive dello stesso contrasto tra l’attitudine ai suoni/rumori forniti dagli oggetti di Schick, oltranzista dell’analogico, e i droni elettronici di Szczesny.
Di fatto, il concerto cui si allude nel titolo non è così recente da giustificare una sostanziale evoluzione da quella prima esperienza: testimonia infatti una performance congiunta del novembre di tre anni fa, avvenuta appunto a Ginevra, al Cave 12/L’Ecurie. Per di più, al risultato del live non è stato applicato nessun lavoro di afterediting. Non ci sono overdubs o tagli; quello che sentiamo è l’intero act del duo tedesco/polacco. Eppure tra Ignaz e Dawid si sente una capacità notevole di creare con la propria musica lo spazio per quella altrui. Nei cinque movimenti, l’elettronica sibila e lascia che il protagonismo degli oggetti salga (Movement 2), il drone cerca armonie sostenendosi ai rumori ritmici (Movement 3), il computer allestisce l’arena cosmica per i timbri più perforanti (Movement 4).
In realtà Schick è sempre di più un nodo nella rete elettroacustica tedesca, fatto documentato dalla curatela del Echtzeitmusik Festival 2010. Dove “Echtzeitmusik” vuol dire real time music, e dunque impro. Ma è la collaborazione, la co-progettazione, la messa in sintonia tra i compositori (o improvvisatori) come fossero strumenti di una meta-composizione a diventare sempre più la chiave della scena, in Italia come negli angoli di Kreuzberg. È il metodo odierno di declinazione dell’eccellenza.

Gaspare Cliri – Sentireascoltare, April 2011


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