{"id":35259,"date":"2022-10-28T10:45:26","date_gmt":"2022-10-28T08:45:26","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=35259"},"modified":"2022-10-28T10:45:28","modified_gmt":"2022-10-28T08:45:28","slug":"narodzila-sie-nowa-kultura","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2022\/10\/28\/narodzila-sie-nowa-kultura\/","title":{"rendered":"Narodzi\u0142a si\u0119 nowa kultura"},"content":{"rendered":"<p>U mnie w klasie szko\u0142y podstawowej odzew na to tytu\u0142owe has\u0142o brzmia\u0142: <em>Automaty w sztywnych kaburach<\/em>, bo wtedy popularna by\u0142a piosenka grupy 1984 <em>Ferma hodowlana<\/em>. Muzyka postpunkowa by\u0142a w szczycie popularno\u015bci, a polska tradycja &#8211; sze\u015b\u0107 st\u00f3p pod ziemi\u0105, ukatrupiona wyst\u0119pami w telewizji. Jak ju\u017c wiemy z dalszego przebiegu wypadk\u00f3w &#8211; duch pozosta\u0142, cho\u0107 na sensowne formy \u0142\u0105cz\u0105ce muzyk\u0119 rozrywkow\u0105 i ludow\u0105 trzeba by\u0142o poczeka\u0107. Dzi\u015b sytuacja jest zgo\u0142a odwrotna &#8211; automaty uda\u0142o si\u0119 przeprogramowa\u0107 do tego stopnia, \u017ce nad\u0105\u017caj\u0105 za podzia\u0142ami wiejskich muzykant\u00f3w i przenosz\u0105 w obszar muzyki klubowej pradawny trans charakterystyczny dla naszych okolic. Uda\u0142o si\u0119 na albumie Niewte, uda\u0142o si\u0119 na niedawnej p\u0142ycie Malej Herby, dzi\u015b ukazuje si\u0119 od dawna zapowiadana <em>\u017ba\u0142o\u015b\u0107<\/em> &#8211; kolejne <em>tradstepowe<\/em>, nazwijmy to z braku lepszego okre\u015blenia, wydawnictwo <strong>Naphty<\/strong>, kt\u00f3ry ju\u017c od jakiego\u015b czasu pr\u00f3buje zmi\u0119kczy\u0107 automaty i pogodzi\u0107 je z tradycj\u0105.\u00a0 \u00a0\u00a0<\/p>\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/DgcKCNPmQm8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n\n\n<p>Co si\u0119 tu uda\u0142o? Zaskakuj\u0105co du\u017co. Zosta\u0142o na pewno sporo naturalnego uduchowienia, kt\u00f3re wroc\u0142awski producent odnajduje w tradycyjnych pie\u015bniach, spogl\u0105daj\u0105c na nie z perspektywy dubu, szukaj\u0105c basowego podbicia ludowych temat\u00f3w. To metoda dzia\u0142aj\u0105ca zaskakuj\u0105co dobrze od czas\u00f3w Twinkle Brothers, tyle \u017ce tu zastosowana nie w stosunku do wizyt\u00f3wkowego przez lata folkloru g\u00f3ralskiego, tylko muzyki z Ziemi Radomskiej, Polesia czy Wielkopolski. Pawe\u0142 Klimczak po niez\u0142ej epce <em>Dom strawi\u0142o<\/em>, kieruje si\u0119 tym razem w stron\u0119 melancholii, smutku &#8211; pod\u0105\u017caj\u0105c w spos\u00f3b naturalny za duchem snutych w naszej literaturze opowie\u015bci o pa\u0144szczy\u017anie, szukaj\u0105c klimatu polskiego bluesa, a mo\u017ce te\u017c jakiego\u015b pasuj\u0105cego do tej pory roku gotyckiego romantyzmu w ludowym wydaniu. W t\u0119 stron\u0119 prowadz\u0105 go na pewno trzy duety z Mal\u0105 Herb\u0105 &#8211; da\u0142oby si\u0119 to pewnie przy odrobinie szcz\u0119\u015bcia wpisa\u0107 w kt\u00f3ry\u015b za program\u00f3w Roku Romantyzmu, a klubowa impreza zamienia si\u0119 tu chwilami w seans spirytystyczny z wywo\u0142ywaniem ducha prof. Marii Janion.\u00a0 \u00a0<\/p>\n<p>Najmocniejsze s\u0105 jednak rytmiczne sploty, kt\u00f3rych producent dokonuje na tradycyjnym materiale pr\u00f3buj\u0105c godzi\u0107 rytmiczne akcenty ludowych ta\u0144c\u00f3w z jakimi\u015b formami dubstepu. W utworze <em>Z pomienionym ta\u0144cowanie<\/em> (a chyba te\u017c w dw\u00f3ch kolejnych) uda\u0142o si\u0119 nawet &#8211; mam wra\u017cenie &#8211; wynegocjowa\u0107 idealny kompromis, z\u0142oty \u015brodek. Je\u015bli jest jaki\u015b schowany za si\u00f3dm\u0105 g\u00f3r\u0105 i si\u00f3dmym lasem klucz pozwalaj\u0105cy otworzy\u0107 \u015bwiat ludowego transu przed klubowymi parkietami, Naphta go znalaz\u0142 lub przynajmniej jest ju\u017c blisko. I nie brzmi to jak brutalne ingerowanie w rzeczywisto\u015b\u0107 zastan\u0105, doklejanie na si\u0142\u0119 nowych metek do starej historii, tylko jak kreowanie historii alternatywnej, w kt\u00f3rej po sianokosach chodzili\u015bmy na rave&#8217;y.\u00a0<\/p>\n<p><strong>NAPHTA <em>\u017ba\u0142o\u015b\u0107<\/em><\/strong>, Ta\u0144ce 2022<\/p>\n\n\n<iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/0VvxlezBhTDD55WrzJHFnf?utm_source=generator\" width=\"100%\" height=\"380\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>24.10 <strong>Ryterski<\/strong> Gaymers\u2019 Cheatsheet, Pointless Geometry <br \/>25.10 <strong>Grzegorz Bojanek<\/strong> Uncertain DL, CD<br \/>25.10 <strong>Mdou Moctar<\/strong> Niger EP Vol. 2, Matador <br \/>25.10 <strong>Z\u00c8NE\u2019T PANON<\/strong> Maloya Malbar, Juju Sounds <br \/>26.10 <strong>Piotr Damasiewicz \/ Kuba W\u00f3jcik<\/strong> Diavolezza, L.A.S. <br \/>26.10 <strong>VA<\/strong> La Materia Verbal &#8211; Antolog\u200b\u00ed\u200ba de la Poes\u200b\u00ed\u200ba Sonora Peruana, Buh arch<br \/>27.10 <strong>Fatboi Sharif x noface<\/strong> Preaching in Havana, PTP <br \/>27.10 <strong>Grandamme<\/strong> Holy Mountain, Def Press\u00e9 <br \/>27.10 <strong>Lukasz Polowczyk<\/strong> Noise in the Key of Life <br \/>27.10 <strong>The Zenmenn &amp; John Moods<\/strong> Hidden Gem, Music From Memory <br \/>27.10 <strong>Tom Braun<\/strong> Butterflies on Acid, Poli5 <br \/>27.10 <strong>Yair Elazar Glotman<\/strong> Speculative Memories, SA Recordings <br \/>28.10 <strong>Agnieszka Chyli\u0144ska<\/strong> Never Ending Sorry <br \/>28.10 <strong>Aleksandra S\u0142y\u017c<\/strong> Everything Tends Towards Chaos and Order, Superpang EP<br \/>28.10 <strong>Anja Lauvdal<\/strong> From a Story Now Lost, Smalltown Supersound <br \/>28.10 <strong>Aoife Nessa Frances<\/strong> Protector, Partisan <br \/>28.10 <strong>Benjamin Clementine<\/strong> And I Have Been <br \/>28.10 <strong>Brodka<\/strong> Sadza, Kayax <br \/>28.10 <strong>Cakes da Killa<\/strong> Svengali, Young Art <br \/>28.10 <strong>Carlos Fanzetti<\/strong> Grafitti, Jazz Room <br \/>28.10 <strong>Celtic Frost<\/strong> Danse Macabre, Noise superdeluxe box<br \/>28.10<strong> Chad Taylor Trio<\/strong> The Reel, Astral Spirits <br \/>28.10 <strong>Dave Soldier &amp; William Hooker<\/strong> The LeWitt Etudes, Mahakala <br \/>28.10 <strong>Dead Cross<\/strong> II, Ipecac <br \/>28.10 <strong>Derek Bailey &amp; Charlie Morrow<\/strong> New York 1982, Recital arch<br \/>28.10 <strong>Dickie Laundry<\/strong> 4 Cuts Placed In &#8222;A First Quarter&#8221;, Unseen Worlds <br \/>28.10 <strong>Dorian Concept<\/strong> What We Do For Others, Brainfeeder <br \/>28.10 <strong>Edrix Puzzle<\/strong> Coming of the Moon Dogs, On The Corner <br \/>28.10 <strong>Ekkehard Ehlers<\/strong> Plays, Keplar reed<br \/>28.10 <strong>Elskavon<\/strong> Copper Hills, Western Vinyl EP<br \/>28.10 <strong>Felicity Mangan<\/strong> Wet On Wet, Warm Winters Ltd <br \/>28.10 <strong>Govreen\/Sever<\/strong> <strong>Quartet<\/strong> Maya, JMI <br \/>28.10 <strong>Guided By Voices<\/strong> Scalping the Guru, GBV Inc komp<br \/>28.10 <strong>Honey Harper<\/strong> Honey Harper &amp; The Infinite Sky, ATO <br \/>28.10 <strong>HUW, The Asimov Soul Orchestra<\/strong> The Asimov Soul Orchestra, Ropeadope <br \/>28.10 <strong>Ivo Perelman\/Matthew Shipp<\/strong> Fruition, ESP-Disk <br \/>28.10 <strong>Jeff Parker<\/strong> ETA IVtet Mondays at The Enfield Tennis Academy, Eremite <br \/>28.10 <strong>Jordan Hull<\/strong> Ducks, Ropeadope <br \/>28.10 <strong>Jordan Reyes<\/strong> Everything is Always, American Dreams <br \/>28.10 <strong>Josephine Foster<\/strong> There Are Eyes Above <br \/>28.10 <strong>June McDoom<\/strong> June McDoom, Temporary Residence Ltd <br \/>28.10 <strong>Junior Boys<\/strong> Waiting Game, City Slang <br \/>28.10 <strong>Keiji Haino \/ Jim O&#8217;Rourke \/ Oren Ambarchi<\/strong> &#8222;Caught in the dilemma of being made to choose&#8221; This makes the modesty which should never been closed off itself Continue to ask itself: &#8222;Ready or not\u200b?\u200b&#8221;, Black Truffle <br \/>28.10 <strong>King Gizzard &amp; The Lizard Wizard<\/strong> Changes, KGLW <br \/>28.10<strong> Late Night Poems<\/strong> Ostatni dzie\u0144 lata, U Know Me <br \/>28.10 <strong>Lawrence English<\/strong> Themes and Atmospheres for Adam Curtis&#8217;s Russia 1985\u200b-\u200b1999 TraumaZone, Room40 <br \/>28.10 <strong>Lee<\/strong> <strong>Paradise<\/strong> &amp;co, Telephone Explosion <br \/>28.10 <strong>Mauskovic Dance Band<\/strong> Bukaroo Bank, Les Disques Bongo Joe <br \/>28.10 <strong>Mi\u0142o\u015b\u0107 &amp; Lester Bowie<\/strong> Live in Gdynia &#8211; Gdynia Summer Jazz Days Vol.2 <br \/>28.10 <strong>Miriodor<\/strong> Elements, Cuneiform <br \/>28.10 <strong>Molly Joyce<\/strong> Perspective, New Amsterdam <br \/>28.10 <strong>Naphta<\/strong> \u017ba\u0142o\u015b\u0107, Ta\u0144ce <br \/>28.10 <strong>Natalia Lafourcade<\/strong> De Todas Las Flores, Sony <br \/>28.10 <strong>New Balance<\/strong> More Love Hours Than Can Ever Be Repaid, Anxiety Blanket <br \/>28.10 <strong>Nina Berman &amp; Steve Beck<\/strong> Milton Babbitt: Works for Treble Voice and Piano, New Focus <br \/>28.10 <strong>Nosaj Thing<\/strong> Continua, LuckyMe <br \/>28.10 <strong>Oiseaux-Tempete<\/strong> What On Earth (Que Diable), Nahal <br \/>28.10 <strong>\u00d3lafur Arnalds<\/strong> Some Kind of Peace &#8211; Piano Reworks <br \/>28.10 <strong>Omodaka<\/strong> ZENTSUU: Collected Works 2001\u200b-\u200b2019, WRWTFWW <br \/>28.10 <strong>Pierre Pierre<\/strong> Mon disque d&#8217;or, Dur et Doux <br \/>28.10 <strong>Polyphia<\/strong> Remember That You Will Die, Rise <br \/>28.10 <strong>Przemys\u0142aw Str\u0105czek<\/strong> Cultural Concept, Music Corner\/Voicemusic <br \/>28.10 <strong>Sana Nagano<\/strong> Anime Mundi, 577 Records <br \/>28.10 <strong>SBB<\/strong> Live Cuts: Ostrava 2002, GAD arch<br \/>28.10 <strong>SBB<\/strong> Live Cuts: ENger 1977, GAD arch<br \/>28.10 <strong>Scout Gillett<\/strong> No Roof No Floor, Captured Tracks <br \/>28.10 <strong>Sentino<\/strong> ZL4EVER <br \/>28.10<strong> Sheer Cerebral Power<\/strong> Sucker Punch&#8217;d, Enja &amp; Yellowbird <br \/>28.10<strong> Shit and Shine<\/strong> New Confusion, Rocket <br \/>28.10 <strong>Show Me The Body<\/strong> Trouble the Water, Loma Vista <br \/>28.10 <strong>Sleep Party People<\/strong> Heap of Ashes, Joyful Noise <br \/>28.10<strong> Steve Long<\/strong> Code Talker II, Astral Spirits <br \/>28.10<strong> Szczyl &amp; Magiera<\/strong> 8171, EP <br \/>28.10 <strong>T Geruis<\/strong> Vast, L-ne <br \/>28.10 <strong>Tawanda<\/strong> Smile, Resonance <br \/>28.10 <strong>The Backseat Lovers<\/strong> Waiting to Spill, Capitol <br \/>28.10 <strong>Tom Odell<\/strong> Best Day of My Life, mTheory <br \/>28.10 <strong>Torbj\u00f6rn Zetterberg<\/strong> Opinions, Corbett &amp; Dempsey <br \/>28.10 <strong>tRicMast aka R. Villalobos &amp; Tripmastaz<\/strong> PRussians, EP <br \/>28.10 <strong>TVAM<\/strong> High Art Lite, Invada <br \/>28.10 <strong>Tyshawn Sorey<\/strong> The Off\u200b-\u200bOff Broadway Guide to Synergism, Pi Recordings <br \/>28.10 <strong>VA<\/strong> The Eleventh Hour: Songs for Climate Justice, Sub Pop <br \/>28.10 <strong>Vaya Con Dios<\/strong> Parce que <br \/>28.10<strong> Voo Voo<\/strong> Premiera, Agora <br \/>28.10 <strong>Wand<\/strong> Spiders in the Rain, Drag City <br \/>28.10 <strong>Westside Gun<\/strong> &#8222;10&#8221;, Griselda <br \/>28.10 <strong>Working Men&#8217;s Club<\/strong> Steel City EP, Heavenly<\/p>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>U mnie w klasie szko\u0142y podstawowej odzew na to tytu\u0142owe has\u0142o brzmia\u0142: Automaty w sztywnych kaburach, bo wtedy popularna by\u0142a piosenka grupy 1984 Ferma hodowlana. Muzyka postpunkowa by\u0142a w szczycie popularno\u015bci, a polska tradycja &#8211; sze\u015b\u0107 st\u00f3p pod ziemi\u0105, ukatrupiona wyst\u0119pami w telewizji. Jak ju\u017c wiemy z dalszego przebiegu wypadk\u00f3w &#8211; duch pozosta\u0142, cho\u0107 na [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":35270,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,289,3,312,120,3319,107,3309,4009,3666,5177],"tags":[2255],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/35259"}],"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=35259"}],"version-history":[{"count":5,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/35259\/revisions"}],"predecessor-version":[{"id":35271,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/35259\/revisions\/35271"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/35270"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=35259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=35259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=35259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}