Noise in the Key of Life

Noise in the Key of Life
Author: Łukasz Polowczyk
Publisher: aint about me
Language: English
Pages: 72
Size: 12 x 18 cm
Weight: 275 g
Binding: Softcover
Availability: In stock
Price: €14.00
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Product Description

A funeral enveloped in the silky sound of violins. The candy-coloured confetti of a child’s laughter. A visit to a hospital. The sound of a rotting, discarded piano against the backdrop of a monster diesel engine. A cloud of crows. A goodbye.

Noise in the Key of Life is a non-linear, impressionistic diary put together by Lukasz Polowczyk. It’s an homage to the hissy, distorted sound aesthetics unintentionally born of the late 80s underground tape-trading culture. Think: a Napalm Death Peel Sessions cassette tape created from a tenth-generation copy, played on a Grundig MK 235 mono boombox for the millionth time.

Noise in the Key of Life is the result of hundreds of “sculpted” field recordings, obsessively collected over a period of 5 years, whittled down to 24 minutes of music. Each piece went down dozens of generations of processing.* The project was guided by a deep thirst for finding and isolating unique “sound objects:” alien and brash, especially against the backdrop of mainstream production standards. The frequency range of each composition was defined by and limited to the frequency range of the initial field recording used to create it. The record also features the soulful playing of Simon Spiess (saxophone), Tobias Preisig (violin, organ), and Gianpaolo Camplese (drums); laid down as a series of impromptu first-takes (stacks included).

Noise in the Key of Life is accompanied by a book of essays written to provide background information on the processes and conceptual frameworks that informed the production, as well as biographical information pertaining to individual compositions. The book also features loose riffs on the ethics of field recording, synesthesia, the weaponisation of sound, black noise vs white noise, mindfulness practice/deep listening, Ayahuasca, and more.

*Sound treatment was limited to the use of filters, eq, delay and reverb.