Akpatok at Müszi
Akpatok (PL) at Müszi
Akpatok is a minimalistic, meditative and experimental project by Dawid Adrjanczyk – an avant-garde performer, composer and sound artist, based in Kraków. As Akpatok Ensemble, altogether with Nina Adrjanczyk, musicians will present their new works from upcoming album «Micromovements» (June 2017, Low Clouds Records) for experimental voice, vintage organs & sound manipulation.
Dawid Adrjanczyk’s works often focus on the interaction between music and nature, archaic forms of sound experience, emptiness and stillness. Rooted in minimalism, he focuses on unique tuning schemes and harmony based on micro-tonality and organic relationships of intervals.
In 2016 Dawid Adrjanczyk has founded an interdisciplinary ecological project Co-silence for cultivating the sound of natural environment. He organizes sound workshops and listening trainings based upon his idea of quiet points. He collaborated with several institutions, i.e. National Museum in Warsaw and Centre for Intercultural Creative Initiatives “Crossroads” in Lublin. He performed widely in Europe. A founder and a leader of the Akpatok Ensemble. He cooperates with The Magic Carpathians Project.
The last release by the Akpatok project, the album Two Winters, Two Springs, contains six minimalistic compositions by Dawid Adrjanczyk, recorded in mid-2015 for Low Clouds Records. By using consciously limited ways of expression and reducing the number of instruments and compositional structures, Adrjanczyk creates his works based on meditative idiom both with regard to particular compositions, as well as the album as a whole. Six sonic journeys through challenging paths invoke deep attentive listening and introduce the listener into a leisurely subdued rhythm of composition full of inner concentration, that is so characteristic of all the artist’s works.
“The path to complete minimalism still remains a path. I am deeply conscious of the limitations which are imposed on my art by the narrative tradition. Listening to my compositions attentively tends to be a difficult practice of observing how the sound persists and how it undergoes a continuous change.”
“I would like my compositions, built upon organic variability and inscribed in the cycle of permanent expansion/extinguishing of silence and sound as they are, to evoke not only concentration on the very substance of music, but through sensation, also purely physical in nature, to encourage the listener to focus attention on themselves. Because only within ourselves is reflected all that we hear and experience.”