SCHOMBERG POWER STATION
1) PART ONE 12mn 45s
2) PART TWO 12mn 11s
GUIDO COAL MINE
3) PART ONE 4mn 28s
4) PART TWO 11mn 15s
"I CALL ARCHITECTURE FROZEN MUSIC" - J.W.Goethe
KARBIDO KNOCK OUT WITH EXPRESSIVENESS AND VARIETY OF THEIR PROJECTS
Last year they released a sound poem “Cinnamon/India” recorded in cooperation with Ukrainian poet Yuri Andrukhowych, a masterpiece. Any day a performance called “The table”, known to the audience of theatre festivals all over the world, will be released on DVD. Now “Music4Buildings” has started, a series under the patronage of Goethe, who called architecture “frozen music”. Karbido defrost sounds of Schomberg power station (Szombierki) and “Guido” coal mine.
Each of the objects lived to see two pieces of music. Karbido first create a montage of sounds from the field, then improvise on the sounds. Collage compositions, dark ambient “Schomberg” and brilliantly bruitistic “Guido” go into the making of esoteric but intriguing sound portrait of industrial Silesia. Improvisations splendidly complete the curricular climate; from crawling, background bass to predatory, motoric noise, there appears a huge palette of colours, and the sound invention is supported by a trance nerve.
Rafał Księżyk, Machina
…They collected industrial noise, cut it up and arranged into fascinating machine collages, then commented on them using more standard instruments.
(…) First they cracked at “Schomberg” power station in Bytom and “Guido” coal mine in Zabrze…
Their second album was an accurate recording of the concert Karbido performed in Great Synagogue in Drokchobych. However, it does not resemble a regular concert, concerning the range of sounds they created. Where do all the waves of drones, unexpected resonances, enigmatic karakan murmurs come from? Every now and again I cast a glance in disbelieve at the list of instruments, but there are constantly five elements on it. For the heart of the enterprise is using the authorial system of recording and processing of architecture sounds. It allows you to locate many microphones in places hard to reach in the building, also to record sounds transmitted on the surfaces, and – at the same time –
to emit sounds and process them. You can simultaneously “record” the building and “play” it. The effects are delightful. Listening to albums from the “Music4Buildings” series makes sense only when you devote yourself to them totally.
You need to turn up the volume, use headphones or a good stereo. Best in solitude.
Jedrzej Słodkowski, Gazeta Wyborcza