{"id":24800,"date":"2020-03-20T08:15:03","date_gmt":"2020-03-20T07:15:03","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=24800"},"modified":"2020-03-20T11:44:26","modified_gmt":"2020-03-20T10:44:26","slug":"dyskretny-urok-odprezenia","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2020\/03\/20\/dyskretny-urok-odprezenia\/","title":{"rendered":"Dyskretny urok odpr\u0119\u017cenia"},"content":{"rendered":"\n<p>Napi\u0119cie, w jakim \u017cyjemy, ma prawdopodobnie nie mniejszy wp\u0142yw na nasze zdrowie ni\u017c sam koronawirus. Tylko jak tu spu\u015bci\u0107 powietrze, \u017ceby od razu nie wyszed\u0142 z tego przera\u017caj\u0105co rozlu\u017aniony <a href=\"https:\/\/www.youtube.com\/watch?v=Gmm2se1HXOM\">ameryka\u0144ski spring break<\/a>, kt\u00f3ry wraz z powracaj\u0105c\u0105 z wyjazdu na Floryd\u0119 m\u0142odzie\u017c\u0105 rozniesie zapewne za chwil\u0119 wirusa po \u015brodkowych stanach? Mo\u017cna na tradycyjn\u0105 mod\u0142\u0119, opatentowan\u0105 w klubowych chillout-roomach \u0107wier\u0107 wieku temu. Tak to robi duet <strong>Skalpel<\/strong>, kt\u00f3remu znowu si\u0119 uda\u0142o nagra\u0107 bardzo potrzebn\u0105 p\u0142yt\u0119, cho\u0107 gra muzyk\u0119 nieco inn\u0105 ni\u017c w okresie debiutu.      <\/p>\n\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/m-mghi1BuMA\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"><\/iframe>\n\n\n\n<p>Z pewnym dystansem podchodzi\u0142em do nowego Skalpela, maj\u0105c \u015bwiadomo\u015b\u0107, \u017ce panowie Marcin Cichy i Igor  Pud\u0142o zrobili ju\u017c na polskiej scenie bardzo du\u017co &#8211; w duecie i solo &#8211; a w takich sytuacjach trudno oczekiwa\u0107 wielkich ambicji i albumu, kt\u00f3ry jakkolwiek zmienia jeszcze stan lokalnej sceny. <em>Highlight <\/em>pozytywnie mnie zaskoczy\u0142, bo uprzedza wszelkie w\u0105tpliwo\u015bci &#8211; nie jest p\u0142yt\u0105 rewolucyjn\u0105, jest raczej albumem zdystansowanym i dojrza\u0142ym. Z kola\u017cowo wyklejonej, ale jednak do\u015b\u0107 klaustrofobicznej przestrzeni dw\u00f3ch pierwszych album\u00f3w wychodzi &#8211; jeszcze mocniej ni\u017c <em>Transit<\/em> &#8211; na szerok\u0105 przestrze\u0144. Co\u015b jakby cz\u0142onkowie Skalpela otworzyli w swoim studiu nagraniowym szeroko okna. Cho\u0107 &#8211; jak znam \u017cycie &#8211; bardziej ju\u017c uprawiali przy okazji tego albumu wielomiesi\u0119czn\u0105 prac\u0119 zdaln\u0105.    <\/p>\n\n\n<p>Stylistycznie, jak ju\u017c wzmiankowa\u0142em, Skalpel wraca do okresu z okolic w\u0142asnego debiutu. Czytam <em>Highlight<\/em> jako ho\u0142d dla ca\u0142ej estetyki sceny po\u0142owy lat 90. &#8211; z nu jazzem, breakbeatami, louge&#8217;ow\u0105 elegancj\u0105 &#8211; cho\u0107 po drodze duet przej\u0105\u0142 te\u017c co nieco z estetyki The Cinematic Orchestra, Bonobo i Jazzanovy w p\u00f3\u017aniejszym wcieleniu, a wreszcie odrobi\u0142 lekcje z nowej fali polskiego chilloutu, z Pejza\u017cem i seri\u0105 <em>The Very Polish Cut Outs<\/em> na czele. Powsta\u0142 w ten spos\u00f3b album bardziej satysfakcjonuj\u0105cy ni\u017c <em>Transit, <\/em>nawet je\u015bli mniej ekscytuj\u0105cy ni\u017c pierwsze nagrania. Za to brzmieniowo <em>Highlight<\/em> wydaje mi si\u0119 najmocniejsz\u0105 propozycj\u0105 w historii Skalpela. Ma w sobie dyskretny spok\u00f3j i odpr\u0119\u017caj\u0105ce dzia\u0142anie &#8211; przydatne dzi\u015b, jutro pewnie ju\u017c niezb\u0119dne.&nbsp;&nbsp;<\/p>\n<p><strong>SKALPEL <em>Highlight<\/em><\/strong>, NoPaper\/!K7 2020, <strong>7\/10<\/strong><\/p>\n\n\n<iframe style=\"border: 0; width: 500px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2603919754\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/skalpel.bandcamp.com\/album\/highlight\">Highlight by Skalpel<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA\u00a0<\/strong><\/p>\n<p>15.03 <strong>Charlemagne Palestine &amp; John K\u00f6rmeling<\/strong> Ffroggssichorddd, Staalplaat <br \/>15.03 <strong>Donald Glover<\/strong> Donald Glover Presents (by\u0142a online i znik\u0142a)\u00a0<br \/>15.03 <strong>Emil Miszk &amp; The Sonic Syndicate<\/strong> Artificial Stupidity, Alpaka <br \/>15.03 <strong>Piotr Lema\u0144czyk Trio<\/strong> In Simplicity, Soliton <br \/>16.03 <strong>Emiter<\/strong> AO music for small electronic objects, beat, tape and voice <br \/>16.03<strong> Jeich Ould Badou<\/strong> Music from Saharan WhatsApp 03, Sahel Sounds <br \/>16.03 <strong>Sarah Louise<\/strong> Earth and Its Contents <br \/>17.03 <strong>Kyle Motl, Patrick Shiroishi, &amp; T. J. Borden<\/strong> In This Failing Light, Confront<br \/>17.03 <strong>MV4<\/strong> Gilles Peterson Presents: MV4, Brownswood <br \/>17.03 <strong>Olga Mella<\/strong> Everyone is Looking at the Sun: Her Complete Recorded Works in Chronological Order, 1926\u200b-\u200b28, Canary<br \/>17.03 <strong>Torpur<\/strong> Cut, Chopped &amp; Sliced, Enjoy Life <br \/>17.03 <strong>Watt<\/strong> Recorded In Miami 1989-1991, Bill Orcutt <br \/>18.03 <strong>Keith Fullerton Whitman<\/strong> GRM (Redactions)<br \/>18.03 <strong>Mirt<\/strong> Resonance, Saamleng<br \/>18.03 <strong>Oscillatorial Binnage<\/strong> Agitations: Post\u200b-\u200bElectronic Sounds, Sub Rosa<br \/>19.03 <strong>Joachim Nordwall<\/strong> Music for Inner Peace and Outer Disturbance, iDEAL<br \/>19.03 <b>Piotr D\u0105browski <\/b>Wysz\u0142o z boru<br \/>19.03 <strong>Tom Chant &amp; Vasco Trilla<\/strong> Scintillator<br \/>19.03 <strong>VA<\/strong> Pre &#8211; Palsecam 1994-1999, Pionierska<br \/>19.03 <strong>Visible Cloaks<\/strong> Two Installations, RVNG Intl<br \/><strong>3rensa<\/strong> Another World, Room40 <br \/><strong>Adrian Younge And Ali Shaheed Muhammad<\/strong> Jazz Is Dead 001, Jazz Is Dead <br \/><strong>Arbouretum<\/strong> Let It All In, Thrill Jockey <br \/><strong>Aru\u00e1n Ortiz With Andrew Cyrille And Mauricio Herrera<\/strong> Inside Rhythmic Falls, Intakt <br \/><strong>Baxter Dury<\/strong> The Night Chancers<br \/><strong>Beatriz Ferreyra<\/strong> Echos+, Room40 <br \/><strong>Blacks\u2019 Myths<\/strong> Blacks\u2019 Myths 1, Atlantic Rhythms <br \/><strong>Bobby Conn<\/strong> Recovery, Tapete <br \/><strong>Chris Forsyth with Garcia Peoples<\/strong> Peoples Motel Band <br \/><strong>Christian L\u00f6ffler<\/strong> Lys, Ki <br \/><strong>Container<\/strong> Scramblers, Alter <br \/><strong>Dawid Grzelak<\/strong> Rok od wydarze\u0144 w Londynie EP<br \/><strong>Electric Indigo<\/strong> Ferrum, Editions Mego <br \/><strong>Erik Griswold<\/strong> All&#8217;s Grist That Comes To The Mill, Room40<br \/><strong>Eye Flys<\/strong> Tub of Lard, Thrill Jockey <br \/><strong>Felipe Salles<\/strong> The New Immigrant Experience, Tapestry <br \/><strong>Golem Mecanique<\/strong> Nona, Decima et Morta, Ideologic Organ <br \/><strong>Helen Money<\/strong> Atomic, Thrill Jockey <br \/><strong>Hunger Pangs (Marek K\u0105dziela \/ Tomasz D\u0105browski \/ Kasper Tom Christiansen)<\/strong> Hunger Pangs II, Audio Cave CD, DL<br \/><strong>Ian William Craig<\/strong> Red Sun Through Smoke, 130701 <br \/><strong>Irreversible Entanglements<\/strong> Who Sent You?, International Anthem <br \/><strong>James Righton<\/strong> The Performer, Deewee <br \/><strong>Janek P\u0119czak<\/strong> Jestem, Serce Muzy <br \/><strong>Jon Hassell<\/strong> Vernal Equinox, Ndeya reed. <br \/><strong>L\/F\/D\/M<\/strong> Ambitions of Guilt, Night Gaunt EP<br \/><strong>Lapsley<\/strong> Through Water, XL Recordings <br \/><strong>Luca T. Mai<\/strong> Heavenly Guide <br \/><strong>Matthew Tavares &amp; Leland Whitty<\/strong> Visions ,Mr Bongo <br \/><strong>Max De Wardener<\/strong> Music for Detuned Pianos, Village Green <br \/><strong>Michael Gordon<\/strong> Anonymous Man, Cantaloupe <br \/><strong>Moaning<\/strong> Uneasy Laughter, Sub Pop <br \/><strong>Morrissey<\/strong> I Am Not a Dog on a Chain, Etienne <br \/><strong>Ohad Talmor<\/strong> Newsreel Sextet Long Forms, Intakt <br \/><strong>ONIPA<\/strong> We No Be Machine, Strut <br \/><strong>Pokusa<\/strong> Live Sesh<br \/><strong>Prolaps<\/strong> Pure Mud Volume 7, Hausu Mountain <br \/><strong>Pye Corner Audio<\/strong> Five Years in the Dark<br \/><strong>Rafael Anton Irisarri<\/strong> The North Bend (10th Anniversary Edition), Room40 <br \/><strong>Ranil Ranil y su Conjunto<\/strong> Tropical (Limited Dance Edition), Analog Africa <br \/><strong>Ricardo Richaid<\/strong> Travesseiro Feliz, Far Out <br \/><strong>Roger Eno &amp; Brian Eno<\/strong> Mixing Colours, Deutsche Grammophone <br \/><strong>Rosalie<\/strong> IDeal, Universal\u00a0<br \/><strong>Rustin Man<\/strong> Clockdust, Domino <br \/><strong>Shamir<\/strong> Cataclysm <br \/><strong>Skalpel<\/strong> Highlight, K7\/NoPaper <br \/><strong>Star Searchers<\/strong> Avatar Blue, Discrepant <br \/><strong>The Animen<\/strong> Same Sun\/Different Light <br \/><strong>The Antwoord<\/strong> House of Zef, Zef<br \/><strong>The Dirty Knobs<\/strong> Wreckless Abandon, BMG<br \/><strong>The Weeknd<\/strong> After Hours, Republic<br \/><strong>Thor Harris<\/strong> Doom Dub, Joyful Noise<br \/><strong>Tompaul<\/strong> Wallawer, Flimmerplatten EP<br \/><strong>Tony Allen &amp; Hugh Masekela<\/strong> Rejoice, World Circuit <br \/><strong>\u6625\u306d\u3080\u308a [Haru Nemuri]<\/strong> Lovethism EP<\/p>\n<p><em>Oznaczone konkretn\u0105 dat\u0105 p\u0142yty ukaza\u0142y si\u0119 tego dnia, kt\u00f3ry poda\u0142em. Nieoznaczone, czyli ca\u0142a reszta &#8211; 20 marca.<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>Napi\u0119cie, w jakim \u017cyjemy, ma prawdopodobnie nie mniejszy wp\u0142yw na nasze zdrowie ni\u017c sam koronawirus. Tylko jak tu spu\u015bci\u0107 powietrze, \u017ceby od razu nie wyszed\u0142 z tego przera\u017caj\u0105co rozlu\u017aniony ameryka\u0144ski spring break, kt\u00f3ry wraz z powracaj\u0105c\u0105 z wyjazdu na Floryd\u0119 m\u0142odzie\u017c\u0105 rozniesie zapewne za chwil\u0119 wirusa po \u015brodkowych stanach? Mo\u017cna na tradycyjn\u0105 mod\u0142\u0119, opatentowan\u0105 w [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":24801,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,582,3,312,120,3319,444,107,3309,3666,1139,106],"tags":[1516],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/24800"}],"collection":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/comments?post=24800"}],"version-history":[{"count":16,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/24800\/revisions"}],"predecessor-version":[{"id":24823,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/24800\/revisions\/24823"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/24801"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=24800"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=24800"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=24800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}