Form B [mp3 2.4MB]
Dragon [mp3 4.1MB]
Masakra [mp3 3.6MB] [mp3 4.5MB]
KARBIDO: "Widok"
Definicja Karbido [rtf 7.8KB]
Karbido-AL - rider [jpg 197KB]

Kartoteka, TPR

2008 [»]

Karbido, Olomouc, CZ

2006 [»]

2005 [»]

2004 [»]
The beginning of the 90s was full of socio-economical changes. The previously minimized musical arena after years of limitations and poverty finally began to become an important element of the culture. It was then, when the big album-releasing companies started to play a role. Music, as never before, was defined as a product, whose structure was far from ambitious artistic values.
Apart from the main trend, whose mixture of rock and pop was not very popular, there was, of course, an alternative stream, which was hardly beginning to gain its name then.
There was a slow change in the barely known improvisational music, whose basis was traditional jazz, which in result led to a new stream of the new generation - yass.
In the beginning, yass was treated with contempt by the orthodox jazzmen, over time it rose in status due to its main advantage - variety. The style was derived from jazz of both the 40s and 50s as well as 'free' later. Additionally, classical rock, ethnical music, reggae and electronic music played a role in the creation of yass. There were no borders, actually , an artistic way of breaking borders added to yass. These were the main ideas of yass, which is heard nowadays a little rarer than before, however some people do continue this musical ideology.
To the 'offspring' of yass belongs our Karbido. Its conception of playing loosely combined, different styles unites a common framework of improvisation. This music is a totally free style mixing folk music with hard rock.
The regional elements can be interpreted in various dimensions since the members of Karbido are artists connected either with theater or film or arts. The unique personalities and their interests add up to the stylistic impression of the music.
The unique mixture is created thanks to the instruments such as saxophone and clarinet, trumpet-elements of folk music taken e.g. from a trumpeter Janusz Zdunek and his '4 Syfon', who played a traditional Belarusian carol 'Dobryviechar'; piano with its smooth-jazz sounds ('Prezent') along with its punk elements as in Dezerter ('Widok').
In 'Kawa i papierosy' the rhythm section has been perfectly connected with guitar riffs a la King Crimson. Here and there, the band serves us with a short guitar psychedelia, enriching their message with modest vocal. The richness of the sound creates colourful motives in our perception, leaving the listener with many ambiguities. At the same time, their music seems to be perfectly balanced so that one gets the impression of 'wholeness' and unity.
While listening to Karbido our senses are strained and set in motion, moving between black and white, the truth and lies, kitsch and artism. Entering the mysteries of their music we can set out for a sentimental journey to forgotten land of variety, where 'Blue Train' by Coltrane meets 'Amariuch' by Łoskot and where Robert Fripp meets Ornette Coleman.
KARBIDO by Tomasz Łuczak,, 2005
Photos from recording session in aquarium-house, somewhere in polish-czechs field, Tassau Village, summer 2005... photo: archive
From the very first moments you can explore the musical theater of absurd, psychedelic trans overwhelmed by free-jazz and jazz-rock.
These amazing and vivid motives could be freely
used as background for silent films as well as espionage stories. Recently released, the new Karbido album can be surely found on jazz CD-shelves, but actually, a separate shelf should be created especially for that kind of music. It's not the style that makes the album different, but the sensitivity and imagination of seeing sounds in 3D dimension, where the prior and decisive element is not the kind, but the energy beaming from each and every note. Here, Karbido would suit ideally Primus, Mr. Bungle or solo projects of Mike Patton and it is fans of such crazy projects who should be encouraged to pay attention to Karbido music.
Grzegorz Cholewa, Gazeta Wyborcza.