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» member profile:
piotr grzesik
» genre:
Alternative >
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Peter Gressick
» label: unsigned
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KLANDESTEIN
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1/ KLANDESTEIN is a flexible group of artists, their enterprise that allows various configurations of persons and sounds, and is a way of practising music.
2/ KLANDESTEIN’s music is based on seven-sound phrases, which have been named modules. They spring from a system in which every day of my life is expressed with one note, so this is both a method of making music and a way of recording time. A module may be defined as a sequence of seven notes which have been ascribed to a given week; as a result each module “lasts” in time, because it is played only within seven days, from Monday to Sunday. While musicians are playing, a module is being incorporated into the acoustic stuff and is subject to different transformations; it functions as the foundations of an edifice erected from sounds, an interplay of music associations and collaboration between artists. A live performance celebrates energy stored in a constellation of sounds which form a module.
3/ Since KLANDESTEIN was started up in 1993, its music has been based on a set of unchangeable principles mentioned above. However, in the course of time it has undergone several phases, starting from purely acoustic music (flute, drums, acoustic guitar), then turning into purely electronic music (drum machine, synthesizer, computer), until now when the means we apply may be called electroacoustic.
Having considered the following features of KLANDESTEIN’s music:
we do not impose any time limits upon our performance,
our music tends to sound in an “extensive” way like the flow of sounds,
some of its qualities resemble ambient music,
a strongly dissonant element is present, what derives from the tonal rules (principles) I adhere to, the atmosphere it evokes reminds us of Gothic horror films, I have decided to define our music genre as ZOMBIENT or PHOBIENT (also sometimes - more in German style - TRAUMBIENT - "traum"="dream").
Piotr Grzesik (Peter Gressick)
2/ KLANDESTEIN’s music is based on seven-sound phrases, which have been named modules. They spring from a system in which every day of my life is expressed with one note, so this is both a method of making music and a way of recording time. A module may be defined as a sequence of seven notes which have been ascribed to a given week; as a result each module “lasts” in time, because it is played only within seven days, from Monday to Sunday. While musicians are playing, a module is being incorporated into the acoustic stuff and is subject to different transformations; it functions as the foundations of an edifice erected from sounds, an interplay of music associations and collaboration between artists. A live performance celebrates energy stored in a constellation of sounds which form a module.
3/ Since KLANDESTEIN was started up in 1993, its music has been based on a set of unchangeable principles mentioned above. However, in the course of time it has undergone several phases, starting from purely acoustic music (flute, drums, acoustic guitar), then turning into purely electronic music (drum machine, synthesizer, computer), until now when the means we apply may be called electroacoustic.
Having considered the following features of KLANDESTEIN’s music:
we do not impose any time limits upon our performance,
our music tends to sound in an “extensive” way like the flow of sounds,
some of its qualities resemble ambient music,
a strongly dissonant element is present, what derives from the tonal rules (principles) I adhere to, the atmosphere it evokes reminds us of Gothic horror films, I have decided to define our music genre as ZOMBIENT or PHOBIENT (also sometimes - more in German style - TRAUMBIENT - "traum"="dream").
Piotr Grzesik (Peter Gressick)
Why this name?
This is strange story - it exists English word "clandestine" and French word "clandestin" I invented the word "klandestein" - meaning is the same, but .... it is in German style {though I'M Polish!)
Do you play live?
Yes, I like it very much - but it is so far from America!
How, do you think, does the internet (or mp3) change the music industry?
Yes, I think so.
Would you sign a record contract with a major label?
Of course.
Band History:
PERFORMERS:
MARZENA BOROÑ (MBORO - in more "friendly", international style...) - vocal&keyboards -
vocalist, texts author, co-operating with KLANDESTEIN since 1995. Member of "MIGRESKA" Pantomime Theatre Group as well as other music groups and projects operating in Cracow. She works as a therapist in Welfare House in Cracow, where she runs a theatre group which became successful at a number of local and national festivals.
PIOTR GRZESIK (PETER GRESSICK - in more "friendly", international style...) - keyboards, drum machine programming, general artistic outline -
author (3 published books - "In Suburbia"/"Na Przedmieœciach" - Baran and Suszczyñski Publishing House, Cracow 1997 - Polish Culture Foundation Award; "Karmasutra" - Baran and Suszczyñski Publishing House, Cracow 1999, "Degenesis" - Krakowska Alternatywa Publishing House, Cracow 2001; also author of few articles printed in music magazine "viVo"; composer (founder of KLANDESTEIN group in 1993, author of solo recordings: "Cycle" 1993, "Feary Tales" 1999, "Melanhole" 2000).
„This group operates since 1993 and it mentions continual rotation of members as one of its trump cards. Surprising, isn’t it? Their music is even more surprising.... There is something unearthly in it, and although in some places it raises goose-flesh, it makes the listener utterly absorbed and is to be remembered for a long time.
The group uses the phrase zombient to describe the type of music it plays - it is a combination of electronic, trance like and analogue - cosmic sound of keyboards, hypnotic voice of vocalist Marzena Boroñ, who introduces also elements of pantomime to the performance. As textual material for her vocalize she uses Japanese XVI century haiku poems.
The ritual - magic conception of musical creations as the celebration of passing time constitutes foundation for all the compositions, designed by the founder of the whole project, writer and composer Piotr Grzesik.”
according to the ‘Guide Through Polish Underground’, £ódŸ 2001
CD "Planet Tiger" was published by:
amorpha
Music Manufacture of T.A.M. Association
MARZENA BOROÑ (MBORO - in more "friendly", international style...) - vocal&keyboards -
vocalist, texts author, co-operating with KLANDESTEIN since 1995. Member of "MIGRESKA" Pantomime Theatre Group as well as other music groups and projects operating in Cracow. She works as a therapist in Welfare House in Cracow, where she runs a theatre group which became successful at a number of local and national festivals.
PIOTR GRZESIK (PETER GRESSICK - in more "friendly", international style...) - keyboards, drum machine programming, general artistic outline -
author (3 published books - "In Suburbia"/"Na Przedmieœciach" - Baran and Suszczyñski Publishing House, Cracow 1997 - Polish Culture Foundation Award; "Karmasutra" - Baran and Suszczyñski Publishing House, Cracow 1999, "Degenesis" - Krakowska Alternatywa Publishing House, Cracow 2001; also author of few articles printed in music magazine "viVo"; composer (founder of KLANDESTEIN group in 1993, author of solo recordings: "Cycle" 1993, "Feary Tales" 1999, "Melanhole" 2000).
„This group operates since 1993 and it mentions continual rotation of members as one of its trump cards. Surprising, isn’t it? Their music is even more surprising.... There is something unearthly in it, and although in some places it raises goose-flesh, it makes the listener utterly absorbed and is to be remembered for a long time.
The group uses the phrase zombient to describe the type of music it plays - it is a combination of electronic, trance like and analogue - cosmic sound of keyboards, hypnotic voice of vocalist Marzena Boroñ, who introduces also elements of pantomime to the performance. As textual material for her vocalize she uses Japanese XVI century haiku poems.
The ritual - magic conception of musical creations as the celebration of passing time constitutes foundation for all the compositions, designed by the founder of the whole project, writer and composer Piotr Grzesik.”
according to the ‘Guide Through Polish Underground’, £ódŸ 2001
CD "Planet Tiger" was published by:
amorpha
Music Manufacture of T.A.M. Association
Your influences?
German "Kosmische Music", J.Cage, A.Webern and others
Favorite spot?
KRAKOW of course!
Equipment used:
analogue synthesiser YAMAHA CS15D and many others things
Anything else...?
Our CD "Planet Tiger" consists of compositions constituting fragments of concerts and home recordings. They were recorded between 29 October 2000 and 31 December 2000 and are based on the following modules: G/F/D/A#/A#/G/G# (compositions number 1 and 2), G#/F#/C/C#/C/G/G (compositions number 3,4,5,6), D#/G/D#/D#/E/G/G/ (compositions number 7, 8) and F#/C/G/D/F#/F#/A# (composition 9). In the last composition (number 9 - ‘Trauman’) Japanese poem by Onono Komachi was used:
Colours of the flowers are gone
And never to return
In the same way our life
Goes to no purpose
And one has to look at it.
‘In 1668 half insane esoteric, astrologer and astronomer Johannes von Grieschke stated in a pamphlet published in Nuremberg that apart from eight planets of the solar system which were known at that time , there was the ninth one , which could not be seen by the means of ordinary astronomical instruments. He called it Planet Tiger and attributed most of epidemics, wars, disasters and plagues to its influence.”
according to the “Dictionary of the Occult” London 1934
Colours of the flowers are gone
And never to return
In the same way our life
Goes to no purpose
And one has to look at it.
‘In 1668 half insane esoteric, astrologer and astronomer Johannes von Grieschke stated in a pamphlet published in Nuremberg that apart from eight planets of the solar system which were known at that time , there was the ninth one , which could not be seen by the means of ordinary astronomical instruments. He called it Planet Tiger and attributed most of epidemics, wars, disasters and plagues to its influence.”
according to the “Dictionary of the Occult” London 1934