{"id":31666,"date":"2022-01-28T09:21:29","date_gmt":"2022-01-28T08:21:29","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=31666"},"modified":"2022-01-28T17:22:24","modified_gmt":"2022-01-28T16:22:24","slug":"retro-w-retro-ale-w-srodku-cos-nowego","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2022\/01\/28\/retro-w-retro-ale-w-srodku-cos-nowego\/","title":{"rendered":"Retro w retro, ale w \u015brodku co\u015b nowego"},"content":{"rendered":"<p>Tak w\u0142a\u015bnie my\u015bl\u0119 o kolejnych p\u0142ytach <strong>Josephine Foster<\/strong>. To jedna z tych wokalistek (obok cho\u0107by CocoRosie), kt\u00f3re postanowi\u0142y \u015bpiewa\u0107 g\u0142osem innej epoki. Podkre\u015blam: nie gra\u0107 jak tu\u017c po wojnie albo jeszcze przed wojn\u0105, nie wskrzesza\u0107 konkretn\u0105 estetyk\u0119 &#8211; cho\u0107 wyp\u0142yn\u0119\u0142a na fali powrotu folku &#8211; tylko \u015bpiewa\u0107 jak wokalistki, kt\u00f3re wchodzi\u0142y do muzyki rozrywkowej z warsztatem i wra\u017cliwo\u015bci\u0105 klasycznie kszta\u0142conych \u015bpiewaczek. Niezale\u017cnie od tego, jaki akompaniament jej towarzyszy, s\u0142ysz\u0119 w wibratach, specyficznej modulacji i barwie Amerykanki sfatygowany winyl sprzed kilkudziesi\u0119ciu lat. I nie jest to kwestia wokalowych efekt\u00f3w. Foster pozostawa\u0142a rozpoznawalna w r\u00f3\u017cnych konwencjach, tak\u017ce podczas wsp\u00f3\u0142pracy ze swoim partnerem \u017cyciowym Hiszpanem Victorem Herrero, kiedy pot\u0119\u017cnie oddali\u0142a si\u0119 od ameryka\u0144skiego folku i bluesa. Komunikat dotycz\u0105cy najnowszej p\u0142yty g\u0142osi, \u017ce wr\u00f3ci\u0142a w g\u00f3ry Kolorado. P\u0142yt\u0119 <em>Godmother<\/em> nagrywa\u0142a sama, akompaniuj\u0105c sobie na gitarze i kupionym w second handzie instrumencie klawiszowym. Klasyczny &#8211; mo\u017cna powiedzie\u0107 &#8211; scenariusz pandemiczny.&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<\/p>\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/zs-tRXVk9NA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"><\/iframe>\n\n\n<p>Mam wra\u017cenie, \u017ce Foster \u015bwiadomie zaakceptowa\u0142a wszelkie b\u0142\u0119dy: p\u0142yta nie brzmi perfekcyjnie, poszczeg\u00f3lne partie &#8211; z tym syntezatorem nagrywanym &#8222;z r\u0119ki&#8221; i czasem jeszcze lekko rozstrojon\u0105 gitar\u0105 &#8211; tworz\u0105 klimat rozedrgania, lekkiej niezborno\u015bci, a zarazem w najbardziej hipnotyzuj\u0105cych momentach &#8211; takich jak <em>Dali Rama<\/em> (m\u00f3j ulubiony) czy <em>Old Teardrop<\/em> &#8211; niezborno\u015bci przestaj\u0105 by\u0107 istotne. A w utworach najmocniej przypominaj\u0105cych niedawny repertuar Foster &#8211; jak singlowy <em>Guardian Angel<\/em> &#8211; wszystko wydaje si\u0119 pouk\u0142adane znacznie pewniej. Nie jest to album w ca\u0142o\u015bci osza\u0142amiaj\u0105cy, nie jest r\u00f3wny, bywa irytuj\u0105cy, ale jest jak\u0105\u015b deklaracj\u0105: je\u015bli masz w sobie cel, mo\u017cesz brzd\u0105ka\u0107, b\u0142\u0105dzi\u0107, w amatorski spos\u00f3b miksowa\u0107 ca\u0142o\u015b\u0107, a i tak na ko\u0144cu us\u0142yszysz artystk\u0119 o w\u0142asnym, charakterystycznym stylu. Idzie te\u017c w nieco innym kierunku ni\u017c poprzednie. Prostota i udziwnienie, niesamowito\u015b\u0107 i zwyczajno\u015b\u0107 pod jednym dachem &#8211; czy raczej pod jedn\u0105 ok\u0142adk\u0105.&nbsp;<\/p>\n<p><strong>JOSEPHINE FOSTER <em>Godmother<\/em><\/strong>, Fire 2022&nbsp;<\/p>\n\n\n<iframe style=\"border: 0; width: 500px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3213836184\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless=\"\"><a href=\"https:\/\/josephinefostermusic.bandcamp.com\/album\/godmother\">Godmother by Josephine Foster<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>22.01 <strong>LDQ Ysimaro \/ MENTE\u200b-\u200bATADA<\/strong> Disembodied, Antenna Non Grata <br \/>22.01 <strong>Luke Stewart&#8217;s Silt Trio<\/strong> The Bottom, Cuneiform <br \/>22.01 <strong>VTSS<\/strong> Projections, Ninja Tune\/Technicolour <br \/>23.01 <strong>Rokia Kon\u00e9 &amp; Jacknife Lee<\/strong> Bamanan, Real World<br \/>24.10<strong> Barbara Sikorska<\/strong> CDN, GAD\u00a0<br \/>24.01 <strong>Colin Webster \/ Andrew Lisle \/ Otto Willberg<\/strong> Scaffolding, Raw Tonk <br \/>24.01 <strong>Felinto N\u00e3o<\/strong> Tem Volta, Lovers &amp; Lollypops <br \/>24.01 <strong>Hidden Forces Trio<\/strong> The Set Up, Raw Tonk <br \/>24.01 <strong>Ilia Belorukov<\/strong> A Fluteophone In The Forest, Raw Tonk <br \/>24.01 <strong>Michael Chapman<\/strong> Another Fish, Tompkins Square <br \/>25.01 <strong>Flore Laurentienne<\/strong> Volume 1, RVNG Intl <br \/>25.01 <strong>Re:ni<\/strong> Revenge Body, Ilian Tape EP<br \/>25.01 <strong>Xavier Garcia &amp; Lionel Marchetti<\/strong> SYMPHONIE \/ 2022 ~ improvised electronic music (live studio) <br \/>26.01 <strong>Emma-Jean Thackray<\/strong> Yellower vol. 1, Movementt EP<br \/>26.01 <strong>Kevin Drumm<\/strong> Future When It Comes <br \/>26.01 <strong>Steve Gunn<\/strong> Nakama EP, Matador <br \/>27.01 <strong>Acid Mother Reynolds<\/strong> Vol. 2, Hive Mind <br \/>27.01 <strong>Salom\u00e9 Voegelin \/ VA<\/strong> Paint your lips while singing your favourite pop song, Flaming Pines <br \/>27.01 <strong>Titanic Sea Moon<\/strong> Titanic Sea Moon, Fonoradar <br \/>28.01 <strong>Alexander Flood<\/strong> The Space Between, Ropeadope <br \/>28.01 <strong>Alice Glass<\/strong> Prey\/\/IV Eating Glass <br \/>28.01 <strong>Alicia Lee<\/strong> Conversations with Myself, New Focus <br \/>28.01 <strong>Alina Skrzek, J\u00f3zef Skrzek<\/strong> Marzenia, GAD <br \/>28.01 <strong>Amber Mark<\/strong> Three Dimensions Deep, PMR<br \/>28.01 <strong>Ana\u00efs Mitchell<\/strong> Ana\u00efs Mitchell, BMG <br \/>28.01 <strong>Babau<\/strong> Stock Fantasy Zone, Discrepant<br \/>28.01 <strong>Beirut<\/strong> Artifacts, Pompeii komp.<br \/>28.01 <strong>Ben McElroy<\/strong> How I Learnt To Disengage From The Pack <br \/>28.01 <strong>Bernard Butler<\/strong> People Move On, Demon <br \/>28.01 <strong>Black Flower<\/strong> Magma, Sbdan Ultra <br \/>28.01 <strong>Bogus\u0142aw Rudzi\u0144ski Quintet<\/strong> Zimna k\u0105piel, GAD <br \/>28.01 <strong>Christiana Giannone<\/strong> Zone 7, Room40 <br \/>28.01 <strong>Claude Cooper<\/strong> Myriad Sounds <br \/>28.01 <strong>Cloakroom<\/strong> Dissolution Wave, Relapse <br \/>28.01 <strong>Coral Club<\/strong> Turn To, Not Not Fun <br \/>28.01 <strong>Darius Syrossian<\/strong> To the Groove, Pets EP<br \/>28.01 <strong>Deathcrash<\/strong> Return<br \/>28.01 <strong>DJ Nigga Fox<\/strong> M\u00fasica da Terra, Principe<br \/>28.01 <strong>Eels<\/strong> Extreme Witchcraft, E Works <br \/>28.01 <strong>Ghostly Kisses<\/strong> Heaven, Wait <br \/>28.01 <strong>Greg Spero<\/strong> The Chicago Experiment, Ropeadope<br \/>28.01 <strong>Henryk Czy\u017c<\/strong> Rancho Texas, GAD<br \/>28.01 <strong>Iannis Xenakis<\/strong> Electroacoustic Works, Karlrecords box <br \/>28.01<strong> Iannis Xenakis<\/strong> Taurhiphanie \/ Voyage Absolu Des Unari Vers Androm\u00e8de \/ Gendy 3 \/ S\u200b.\u200b709, Karlrecords <br \/>28.01 <strong>Iannis Xenakis<\/strong> Diamorphoses \/ Concret PH \/ Orient Occident \/ Bohor, Karlrecords <br \/>28.01 <strong>Iannis Xenakis<\/strong> Hibiki Hana\u200b-\u200bMa \/ Mycenae Alpha \/ Polytope de Cluny, Karlrecords <br \/>28.01 <strong>Imarhan<\/strong> Aboogi, City Slang<br \/>28.01 <strong>Immanuel Wilkins<\/strong> The 7th Hand, Blue Note<br \/>28.01 <strong>Jarkka Rissanen &amp; Timo Ylinen<\/strong> Long Time Coming, Eclipse <br \/>28.01 <strong>Jessica Pavone<\/strong> When No One Around You is There but Nowhere to be Found, Relative Pitch <br \/>28.01 <strong>Jethro Tull<\/strong> The Zealot Gene, Sony <br \/>28.01 <strong>J\u00f3hann J\u00f3hannsson &amp; Jonas Colstrup<\/strong> Blind Massage OST <br \/>28.01 <strong>J\u00f3hann J\u00f3hannsson &amp; Jonas Colstrup<\/strong> The Shadow Play OST <br \/>28.01<strong> John Patton<\/strong> Soul Connection, Jazz Room <br \/>28.01 <strong>Jola Tubielewicz<\/strong> Jola, Soliton <br \/>28.01 <strong>Jonathan Fitoussi \/ Clemens Hourri\u00e8re<\/strong> M\u00f6bius, Transversales <br \/>28.01 <strong>Josephine Foster<\/strong> Godmother, Fire <br \/>28.01 <strong>Kreidler<\/strong> Spells and Daubs, Bureau B <br \/>28.01 <strong>Kyle<\/strong> It&#8217;s Not So Bad, Independent <br \/>28.01 <strong>Lance Ferguson<\/strong> Rare Groove Spectrum, Vol. 2, Freestyle <br \/>28.01 <strong>Lawrence English<\/strong> Oseni, Room40 <br \/>28.01 <strong>Maverick Sabre<\/strong> Don&#8217;t Forget To Look Up <br \/>28.01 <strong>M\u00d8<\/strong> Motordrome, Sony <br \/>28.01 <strong>Modern Nature<\/strong> Island of Noise, Bella Union <br \/>28.01 <strong>Movietone<\/strong> Peel Sessions 1994-97, Textile <br \/>28.01 <strong>North Mississippi Allstars<\/strong> Set Sail, New West <br \/>28.01 <strong>Opening Performance Orchestra \/ Reinhold Friedl \/ Miroslav Beinhauer<\/strong> Chess Show (Other Memories of John Cage), Neos <br \/>28.01 <strong>Paul Draper<\/strong> Cult Leader Tactics, KScope <br \/>28.01 <strong>Pinegrove<\/strong> 11:11, Rough Trade <br \/>28.01 <strong>Pixies<\/strong> Live in Brixton, Demon box<br \/>28.01 <strong>PJ Harvey<\/strong> Let England Shake &#8211; demos, Island <br \/>28.01 <strong>Pjusk<\/strong> Salt og Vind, 12k <br \/>28.01 <strong>Pom Poko<\/strong> This Is Our House, Bella Union <br \/>28.01 <strong>Roedelius &amp; Story<\/strong> 4 Hands, Erased Tapes <br \/>28.01 <strong>Severed+Said<\/strong> Tragic Seeker, Not Not Fun <br \/>28.01<strong> Soda Lite <\/strong>Aqua Solar Cura, Not Not Fun <br \/>28.01 <strong>St. Paul &amp; The Broken Bones<\/strong> The Alien Coast, ATO <br \/>28.01 <strong>Steve Vai<\/strong> Inviolate, Mascot <br \/>28.01 <strong>The Residents<\/strong> Wormwood Box, Cherry Red komp<br \/>28.01 <strong>Tomasz Bednarczyk<\/strong> Windy Weather Always Makes Me Think Of You, 12k <br \/>28.01 <strong>Tyler Mitchell featuring Marshall Allen<\/strong> Dancing Shadows, Mahakala <br \/>28.01 <strong>Urge Overkill<\/strong> We, Omnivore <br \/>28.01 <strong>VA<\/strong> Future Sounds of Jazz vol. 15, Compost <br \/>28.01 <strong>VA<\/strong> L&#8217;Esprit Ka: New Directions in Gwoka Music from Guadeloupe 1981-2010, Time Capsule <br \/>28.01 <strong>Villager<\/strong> Frontier <br \/>28.01 <strong>Woda<\/strong> Ziemia, thisisnotarecord<\/p>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tak w\u0142a\u015bnie my\u015bl\u0119 o kolejnych p\u0142ytach Josephine Foster. To jedna z tych wokalistek (obok cho\u0107by CocoRosie), kt\u00f3re postanowi\u0142y \u015bpiewa\u0107 g\u0142osem innej epoki. Podkre\u015blam: nie gra\u0107 jak tu\u017c po wojnie albo jeszcze przed wojn\u0105, nie wskrzesza\u0107 konkretn\u0105 estetyk\u0119 &#8211; cho\u0107 wyp\u0142yn\u0119\u0142a na fali powrotu folku &#8211; tylko \u015bpiewa\u0107 jak wokalistki, kt\u00f3re wchodzi\u0142y do muzyki rozrywkowej z [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":31672,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,3309,4009,3666,5177],"tags":[1135],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/31666"}],"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=31666"}],"version-history":[{"count":10,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/31666\/revisions"}],"predecessor-version":[{"id":31683,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/31666\/revisions\/31683"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/31672"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=31666"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=31666"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=31666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}