A four-channel spatial generative composition is based on a spectral synthesis combined with the amplified sounds of an aerial
mast and its guyropes set in vibration by a system of electromagnetic hammers controlled by a synthesizer.

new Wilhelm Bras album, Visionaries & Vagabonds, will be released on Marc 16th by Mik Musik

In his sound installation, Paweł Kulczyński temporarily transforms the museum hall of the Faculty of Electrical and Control Engineering into a musical instrument. To achieve this, he works with the physical phenomenon of resonance.

a part of the project "A Place Where We Could Go"
place: Former Wire Factory, Dubois St. 22, Gliwice

21st September - 5th October, Tue-Sat 3-6pm
opening: 21st September, 6pm
curator: Stanisław Ruksza

wywiad w programie "Więcej kultury proszę!" Radio Katowice

In the Gliwice Wire Factory an acoustic installation is being created that is at the same time an artistic commentary on the modernisation taking place in the city centre. As part of the international art project A Place Where We Could Go produced by the Imago Mundi Foundation and the CSW Kronika, the sound artist Paweł Kulczyński has been working on a sculpture, based partially on the choral Renaissance composition Lamentations of Jeremiah by the English composer Thomas Tallis. The installation, which consists of five 3 m high, smooth, white pipes/columns, has been set in the production hall of a factory the windows of which look out on to a nearby park and municipal palm house and a dual-carriageway under construction in the centre of the city – the Gliwice section of the Central Highway linking the cities of Upper Silesia.

LDZ festival  watch the video!

> Jakub Knera,

"Dla mnie ten koncert okazał się objawieniem nie tyle w skali festiwalu czy Polski ale wręcz tego, co potrafią zaprezentować artyści na całym kontynencie. Kulczyński złamał konwencje występu kilkakrotnie – postawił skonstruowany przez siebie syntezator modularny na środku sali, wśród publiczności, kazał zagasić światło, a sam wystepował jedynie z górniczą lampką na czole, migocząc nią na wszystkie strony. Zaserwował set obłędny, szalenie płynny i wciągający – oparty przede wszystkim na materiale z Wordlesss Songs for Electric Fire. Jego muzyka, podobnie jak na płycie nie wypadła stricte tanecznie, ponieważ muzyk w trakcie setu, regularnie ją psuł, bawił się rytmiką i wprowadzał na bieżąco modyfikacje. W ciemności tańczył i aż żal, że publiczność nie dała się wciągnąć do tej zabawy – może po prostu dlatego, że jego występ chcąc nie chcąc, wprawiał w osłupienie. Wyjątkowość jego pomysłów tylko potwierdziła jego artystyczną dojrzałość i doskonałe operowanie własnym językiem.'

Paweł Kulczyński
A Not Particularly Wounding Source Of Distraction

kwadrofoniczna kompozycja odgrywana na żywo z łodzi pływającej po wrocławskim odcinku Odry
SURVIVAL 11, 22 czerwca 2013

Działanie dźwiękowe w przestrzeni miejskiej mające na celu wzbogacenie zastanej audiosfery okolic Odry i jej kanałów o elementy syntetyczne, jednak stosunkowo delikatne i pozostające w harmonii z codziennymi odgłosami miasta.

watch the video! (sadly the sound is poor)

My new album Wilhelm Bras, Wordless Songs by the Electric Fire
is out now on MIK MUSIK !!

Sednem cyklu "When Attitudes Become Form" jest sposób tworzenia i odbierania muzyki eksperymentalnej. Na metodę składa się szereg mglistych, niezdefiniowanych i potencjalnych ograniczeń formalnych zależnych od konkretnej iteracji projektu, zespół specyficznych utrudnień lub stymulacji twórcy i słuchacza. Nawarstwienie niezdeterminowanych parametrów umożliwić ma rzeczywiste odkrywanie nowych terytoriów dźwięku w skali mikro, jego struktury w czasie i obecności w przestrzeni.

Mój od podstaw zbudowany syntezator modularny będzie miał sceniczną premierę. Zapraszam, bywa groźnie.

My dream comes true and winter nights helped a lot. The very first working module of my modular synth (ok, second, but that will come later ;)

One may ask what is the reason to make your own electronic devices. Well, when you play pop it would be really stupid to built a synth yourself. But when it comes to experimental electronics, things are different here. The details come to focus, tiny bits of sounds start to matter. Composers in the 50's and 60's have been making their own synths, or were closely participating in building and designing process, because the composing methods and hardware used were often intertwined and there were no synths to buy.

10.09 – 02.10. 2011
13.00 –17.00

Each of the works within the planned Earlids series is meant to use similar scheme: live, self-evolving multichannel composition/installation in a darkended room, incorporating environmental sounds, driven by weather condtions and/or other measurable processes (water flow, ocean tides, machinery or people movement, insects etc). The final sonic and spatial outcome of each iteration is expected to vary considerably, given the unpredictable matrix of possible circumstances. 

tropajn live @ artboom kraków 2011 by tropajn

I don't release very often, so this live recording is kind of a brief snapshot of my current work. It was a nice evening and I was pretty relaxed that day, so the set goes really smoothly and the final result is fine. So enjoy, listen loud, don't skip (you bastards always do!) and you'll be greatly rewarded ;) The opening piece is played on DIY Benjolin 'chaos synth' designed by Rob Hordijk, and it kicks my random ass! If (by any chance) you'd like to invite me somewhere to play a gig, I'd be glad as hell. thanks.

Druga odsłona cyklu Earlids, którego poszczególne części realizowane są według zbliżonej metody: samoewoluująca, wielokanałowa kompozycja/instalacja umieszczona w wyciemnionym pomieszczeniu, do którego transmitowane są odgłosy środowiska zewnętrznego.

A constant need for a new (or rather old) sound gear makes me feel a little bit guilty of being stuck into 'want-buy-new-stuff-to-make-better-art' scheme. So I had decided to somehow punish myself by doing it with my bare hands and well, it's kind of working! Luckily a lot of plans of classic studio gear I'm really fond of are released into public domain. After intensive winter-nights training I managed to build the first box I've always wanted to get - a functional replica of the famous SSL4000 desk stereo summing compressor, very useful in audio mixing and for final touch in live acts also.

There is more DIY studio stuff ahead of me, preparations are under way, big stereo tube-only preamp is coming, but probably next winter ;)

See for nice DIY projects

. . .
download Earlids 1

"make the familiar strange"

Earlids 1, 2010
weather controlled, 8 channel city sound processing automaton

Located in the old town of Kraków, Poland, the installation captures winter city sounds of the nearby street, reconstructs them on fly and pipes into always changing composition, altered by sunlight and outdoor temperature data.

. . .
download Biomimetics, Insects

download Biomimetics, Rain

Biomimetics 2010, video available

Sound installation driven by insects, wind and rain. Consisted of huge 100m2 self-made stereo contact microphone (100 piezo transducers mounted on foil), strechted over the meadow and plugged directly into PA located in the barn.

. . .
download houseworks, scythe

 Houseworks: Scythe, 2010

A 12 min performance (or maybe just a piece?) for amplified scythe, wirelessly transmitted to evolving synthesizer patch. Initially planned as a part of collaborative restoration of the abandoned house's garden, beautifully located on top of the lone hill, facing west over tobacco fields.

. . .
download tropajn live @ mocak cracow'10

tropajn live at Mocak, Museum of Contemporary Art Kraków, 2010

moosk | tsdbtpinntsl.  2009
(the shortest distance between two points
is not necessarily the straight line)
listen / buy on Bandcamp

performed live and produced by moosk
(Bartek Hilszczański & Paweł Kulczyński)
autumn 2009
CC some rights reserved 002, edition: 20 + digital download

I've been looking for a reason to perform in this beautiful space of the former concrete plant (Cementownia Grodziec) and the 30th anniversary of its closure seemed fine (30th July 2009). It was the first such a factory in Poland, built in ca. 1860 by the French company, and hugely contributed to the development of infrastructure across the country. Now it is partially demolished by the weather conditions, but still offers amazing sonic possibilities (reverbs, strange filtering) and theatrical boost to anything happening there (actually nothing really goes on in there ;)

live at Coke Plant Jadwiga, April 2009, video available

Live, outdoor performance by tropajn (Paweł Kulczyński - musician, sound and visual artist) near 19th century coke plant Jadwiga, in the heart of highly industrialized region of Silesia, Poland.

. . .
download Pawel_Kulczynski_Glossolalia

Glossolalia, sometimes referred to as “speaking in tongues,” is an unusual mental state associated with specific religious traditions. The individual appears to be speaking in an incomprehensible language over which he or she claims to have no control.

. . .
download sorrow conquers happiness

OFF Festiwal, 6th August 2009, Trójkąt Trzech Cesarzy, Mysłowice

. . .
download Kulczynski_Anneliese_Michel

Anneliese Michel | 2008

A massive quadrophonic audio-environment installation (4k watts) in the former restaurant hall from ca. 1905, in suburban impoverished district of highly industrialized area of southern Poland, presented during Something Must Break exhibition, curated by Sebastian Cichocki (Museum of Modern Art in Warsaw).

tropajn live at Sperm Festival, Praha, 2008, video available

Metropolis, live soundtrack, 2008, video available

tropajn  R’N’D

listen / buy on Bandcamp

performed live and produced by tropajn (Paweł Kulczyński)
autumn 2007
CC some rights reserved 001, edition: 50 signed copies + digital download

llive at MQ Wien / Bürocafé Umpolen, 2007, video available

Music for Orphaned Landscapes 0.2, 2007, video available

battery operated PA, koncert w środku dupy

live at Kronika, 2007, video available

prepared tape loops, slightly modified tape decks

moosk | wszystkie boże dzieci są sobie równe z powodu hemoglobiny
płyta wydana w 2003 roku przez bytomską Kronikę, była elementem wystawy Galeria Organiczna 2

listen / buy on Bandcamp

performed live and produced by moosk
(Bartek Hilszczański & Paweł Kulczyński)
and Kronika Centre for Contemporary Art
summer 2003

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