Unsound’s Mat Schulz Listens To Polish Music

My name is Mat Shulz, and I’m the artistic director
of Unsound Festival, also the co-founder. I hope it’s not gonna
get harder (laughs). (music plays) I think it’s VTSS. I mean,
I like her music a lot, and I also like the fact
that she actually decided to start producing music
at Unsound Festival. Hearing something like that
makes me feel it’s worthwhile, putting the festival on. You know, if you actually
inspire people to make music, and then, they actually
do it that well and also get a lot of exposure, because, I mean,
one of the great things about VTSS at the moment is she’s actually playing
a lot abroad, and yeah, I think it’s
not so easy for Polish artists to get exposure outside of Poland,
even when they’re really good, because there’s a huge amount
of great music made here in all sorts of genres, from jazz and improv
to club music, and I think more of it should be… should find an audience
outside of this country, so it’s great when it’s actually
happening, in the case of VTSS. Who I think will get even more
popular in the next years. (music) – Is this from the Julian Eastman
concert? – Yes. – Yeah. I do feel like this is
Invisible Jukebox. (laughs) I mean, I really like his concert.
I thought it was really, I mean, I enjoyed it
probably most of all because we connected
Sikorski with Eastman? Which also, they were
connected on this release, from, uh, was it Bôłt Records? I mean, I love this music, and I also love the idea
of presenting music like this in the context
of Unsound Festival. Which brings back a point
that I was talking about before, that the music program
is really wide, and you can fit together
different forms of music. So, bringing in pieces by Sikorski
and then placing them in the same program with,
for example, abrasive techno, you know, you can do this
at Unsound Festival, and I think it’s actually
really interesting and can show really
unexpected connections between different
traditions in music, or different genres, let’s say. (music) Okay, so this is Felicita. Yup, so that’s Felicita, and music from the project
Softpower with Śląsk, song and dance ensemble. His mother is Polish,
and when he was a kid, he was taking dance lessons
in London. So, there was a personal
context, or is, for this idea. I thought it was a great idea,
because it sounded quite crazy, and we started to try
to find an ensemble who would want to do this, and I was quite surprised
when Śląsk said they would do this, actually, because it shows they are
actually very open-minded and open to the idea
of doing something completely outside of their
comfort zone. It’s quite weird and
almost surreal at points. And I think it was a really
interesting project in terms of the process, because I’m not sure
that either side was fully understanding the other side in terms of the process
of creating this work. (music) WixaPol. Yeah, I mean,
that’s Wixapol. I like what they’re doing, and especially this piece of music
with the video is quite an amazing
piece of art, I think. Makes me really interested
in terms of what this is going to look and sound like on the night, because it’s a live show,
we’ve given them an hour. So, it’s not like they’re going to
DJ for three hours at the end, they’re actually
creating something in this hour-long context. Which I suppose will
involve video like this. The video is quite amazing, because it brings together
a kind of surreal, again, surreal idea of Poland, I think. With very strange references,
from folk music to, you’ll have to watch this video. I’m not going to try to
describe it. But I think it’s worth watching. (music) – Is this Johan? What is it? – It’s Resina. – Resina, okay. Yeah, Resina. Another great Polish artist. Resina, I mean I really like
her music, a lot. The first time she played at Unsound
was I think three years ago. It was around her previous album; the new album is my
favorite of hers so far. I really like the way
that it combines these more classical sounds
with drums and percussion., I think it’s a really nice album, and in terms of the live show,
makes a great impression. She was also part of a group
of musicians from Poland who we brought together
to record with Ben Frost. Ben makes a lot of music
for TV shows. Previously, we worked with him,
bringing [him] together with Sinfonietta Cracovia, to make scores for ‘Dark’
and ‘Fortitude’, these TV shows. And for the last series of ‘Fortitude’, he wanted to work
with Polish jazz and improv musicians, so we recorded with him
in Warsaw with about 20 different
musicians, who we brought together with,
uh, Hubert Zemla, and one of them was Resina. And Ben also remixed one of her
tracks as well on an EP. (music) – Who is it? – It’s Anna Zaradny. Anna Zaradny, okay, yeah. That’s terrible,
I didn’t get Anna Zaradny. Anna Zaradny, another great
Polish musician – who, also in musical terms,
she’s quite pioneering, I think, in terms of Polish music; for her own music,
but as well for her and Robert – had a great festival that started
the same time as Unsound, Musica Genera, which I think was also quite a pioneering
event within Poland, at a time when there weren’t
very many festivals. They brought a lot of amazing
musicians. It’s the kind of performance that breaks this idea of what
a club night should be, to a degree. I think that it has this
rhythmic quality and kind of repetitive
hypnotic quality that means that it can
fit into this context of people who don’t necessarily
listen to experimental music, [but] can listen to this coming at it from the side of being into
more experimental club music – but it’s still, I mean,
it’s pretty experimental music, so it twists things in terms of
the normal flow of a club night, and her show worked
really well there. (music) This is in this year’s program. Yes, they played
like five years ago. Is it Remont Pop?
With MIkolaj Trzaska. Okay, yeah. I mean,
I love Remont Pomp. I think they’re a great band
and also great people. It’s basically a percussion ensemble, and I think the further they go
in the development as a band, the further they go into [the] more kind of
avant-garde side of music, which I think is really interesting.

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