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about us


konrad, zef'99 krzysztof horn
konrad jakrzewski
krzysztof horn

born 23.05.1975
sign zodiac: twins
civil state: single
hobby: musician ( it was been known what), astronomy
likes: to sleep, to drink beer, to play with christopher and with rock team ok, to turn knobs in mixer
favourite performers: td, vangelis, schulze, jmj, pink floyd, chick corea, budka suflera, manaam and generally best music, sometimes also classic musical
experiences: team poland, connection, death metal band shadows land, at present team ok and remote spaces
does not like: lack of cash
desk: car, airplane, video
dreams: work into studio, life from musics, woman understanding life of musician
instruments: ensoniq sqr, yamaha tg100, yamaha w7, roland jv880, quasimidi technox, pc from cubase vst

born 08.08.1977
znak zodiaku: leo
sign of zodiac: lion
hobby: computers, buddhism, psychology, fantasy
likes: to drink small beer , original music, to philosophise, to make yakuzi in bathtub, to eat well (pizza rulez!), mess in room
favourite performers: vangelis, td, sbb, pink floyd, path metheny, chemical brothers, orbital, tomasz stañko, justyna steczkowska
musical experiences: team poland, connection, paradise jazz, at present in remote spaces
does not like: numb performers and numb music, to clean
he did not earn: artificial teeth
dreams: to repair house, to go to india
instruments: didgeridoo, korg micro, creamware luna 2, pc

history, that is how they came into being "remote spaces"
beginnings were very prosaic. some winter evening of year '93 we met , in order to record one's form works which was prepared in our silent houses. realization of them was really "professionally recorded"- "selfplayed" at use of "tonsil" microphone applied to loudspeakers of instruments (we didn't know more advanced techniques, i.e. connecting oneself linear). effect was electrifying - not in sense of content of musical material, but in quality of recordings ( among others creaking chairs, clatter of striking fingers into keyboard). we named our ambitious project (and only cassette) "silver dreams". this music was defeat. some time after this "success", we stopped playing . some time later konrad realized his own cassette entitled "serial" , which was not worth 5+, but for 3- it was without problem. however christopher bought amiga 500, where in program "sonix" put in note after note, showing huge patience till time when he saw "protracker". this program widened his creative prospects. recordings from that period ( 94/95) became registered on cassette in jaroslaw degorski studio. this material was one-mile stone into his work.

konrad, pub katakumba, 19.07.2001 november 1996, then first true jam session. at use of lent keyboard gem wx2, a500, ensoniq sq2 first (enough long) suite "transwave"came into being. this suite was easy to listen only by first 5 min. , later content outgrows form. after this we played next jam, and next.... and next. our musical meetings were spontanic, really, we played in really unprepared way. length of tape was our only limitation. without sequencers, arpeggiators, percussive rhythms.

january '97 - first, into measure successful suite entitled "microwave", inspired by music of klaus schulze. then was formed name of our duet - "remote spaces". our acquaintances likes sometimes to turn name of our band on: "repair of space", whether "flying spaces". :)

october '97 - then first public introduction of our work - concert in stargard centre of culture, in frames of polish festival of unprofessional films. from this all started...

wired thoughts
electronic music is like mirror for creator. it reflects: feelings, dreams, fragments of personal survivals and experiences as well as states of spirit.

we like to listen records together. common uncovering of planes and new sounds. refreshment of our musical gatherings brought to rise of new ideas onto works. such e.g. "schwong", from project "wanhfried", pushed us to thoughts to utilize live guitars and drums. straight bass foundation and jazz, falling into psychic guitar solo. common listening gives us still one advantage, we always try to plunge into structure of work, to get to know him from resource, to understand why he was act in this or different way. this approach is clean technic, but most important for us is that it helps us with solution of some problems. it does not mean this at all , that we are duplicating somebodys ideas, but for sure we treat this as, in a way , point of reference.

krzysztof horn, pub katakumba, 19.07.2001 we like to experiment, to look for something new, surprising. we remember our first jam session. this was madness, real departure. now, when we listen this it seems us, that we was mad, but this was the time when appeared shapes of our present works. world came from chaos, came into being and from mad musical experiments - suits of remote spaces duo.

form. form is very important for us, way of remittance of work. we do not play merrily and ski jumpy , we play as we feel this and so as through years we received work of largest electronic engineers . they reached us across melancholy, musing, until for growing tension, graduating of receipt and total joint departure with coal smoke.

our music evolves from stricte electronic works to complex compositions. for sure we will not hold stiffly on frames of typical " berlin-school". we will be trying to experiment, to join different musical diagrams. rock music, pop or jazz aren't strange for us. beyond listening of el - music everyone listens also different musical performers. elements from them will rewind through our works for sure. they will stay still electronic yet.

we will never forget our common departure on zef'95, and then zef'96. contact with fans from whole polish, meeting of artists. conversation with them, listening of theirs music produced unique climate and atmosphere what did accompany us by some days of rally. this assured us in conviction, that it is proper to taste one's strengths . today our duo exists already above 4 years.

after buying first synthesizers, fascination of their edition absorbed us to this degree, that we started to read professional writings to assemble informations, " to eavesdrop conversations" of different people from "trade". everything to understand the ins and outs of building and creating of tones, and sounds at help of synthesizer. this was fascinating, when we created new tones. by knowledge onto subject of synthesis, most important is acquaintance of work with sound and above sound. it's mixing, surrendering different technical endeavours and finally obtainment of principles of this "appearance". this is difficult art, and we should learn it for years, but that permits on also many experiments with different result.