Martin Režný: Säkkikangas

First I have to get and process the material. I do it so that I can cut off from foreign music, for example, blindly without listening. I like the latest throb of fadeout pop and jazz recordings. Then I multiply and repeat it many times. Or I use my own recordings of the surrounding reality. Although in this case I am guided by my distinguishing and evaluation criteria, their use in the Sakkikangas music will only take place after several processing, and I do not use them in raw form. Recordings accelerate, slow down, refresh, modulate, dilute, change tonal height, manipulate variously. I need to know the material from all possible, and even impossible, sides. I move so constantly between the intention to impress my aesthetic opinion and the coincidence of the resulting stream of sounds. For example, I want the recording to work with rhythm, but not necessarily in a precise, constant way. It can be built up in stages, or dramatically cracked, accelerating, chirping. Contrast, yes, but graduation I say no. This is probably related to the fact that I do not see any recording as finished and finished, it has an open start, end and length. While playing I think of the composition, not in the sense of finding a final, definitive shape, but in the sense of a permanent directing and shaping the material. After all this work, after mating, tearing, sharpening, cutting, distorting and coloring, it is sometimes a surprise to me that at the beginning of the final recording there was only a record of kitchen utensils, labeled as waste.