Tomasz Twardawa 1970- 2020
“Although according to certain philosophers it is quite difficult to distinguish the jester from the melancholic, life itself being a comic drama or a dramatic comedy.”
― Comte de Lautréamont, Maldoror and the Complete Works
The moments passing in time make you feel differently. Depending on how much important contents your self-awareness accumulates through the joy of creation, joy of bonding with people that change the trajectories of perception of something you think you knew.
In time the fact that certain meetings, certain events, certain phenomena happen for just one time can bring you to a sad truth that it's difficult to let go of all this. All this that makes it worthwhile to live and persist and try to make sense of the existence in more and more brutal and merciless uniform of the world.
There are exceptional artists who take this situation as a starting point towards creating a world that dirt and an error as well as disgust and elements of ugliness is part of a poetry.
There is also a very narrow niche of those who use that in the world of sound art or some distant horizons of (anti)music. Tomasz Twardawa who passed on 16th of July this year was one of them.
His body of work contains all the little elements of bruitistic art collage put into context of experimental noise music and drone but far away from the clichees of those genres.
He was responsible for creating his own language - whether it was an acosutic installation as in recently re-released by Zoharum "Strychnina" or quite disturbing sound collages of "Lullabies" using synths and pre-recorded sounds. And his collaborative work with Rafał Sądej from Moan and Dawid Chrapla.
Twardawa was a unique example of a self-made man of discovery, working through his craft in a way that you felt is one of a kind - he wasn't a monkey from the box kind of type who collaborates and releases a big chunk of material, churning it as a mass production.
He was very careful and industrious making as much as possible out of limited means. Both in terms of instruments as well as the established form he wanted to push towards the boundaries he knew.
A man of sophisticated taste as well as someone who had almost primeveal instinct in seeing beyond the image which even in underground music can be fatal reason behind someone's demise and poor quality of the output. His music was about this strangely transporting energy that took you places rather than an ego of its creator. He was merely a midwife of a hatching form.
A man of privacy and humbleness. Immesurable amount of help and guidance given to the author of this text and many others.
He passed away quietly as in:
“I will leave no memoirs.”
― Comte de Lautreamont, Les Chants de Maldoror
There's a beautiful chance to explore his work as Zoharum has recently re-released some of it.
Please check the links below
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