{"id":36782,"date":"2023-02-24T10:11:59","date_gmt":"2023-02-24T09:11:59","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=36782"},"modified":"2023-02-24T17:09:40","modified_gmt":"2023-02-24T16:09:40","slug":"karki-w-breakach","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2023\/02\/24\/karki-w-breakach\/","title":{"rendered":"Karki w breakach"},"content":{"rendered":"<p>Grupa <strong>The Necks<\/strong>, jedna z moich ulubionych, nie potrafi wydawa\u0107 singli. W ostatecznym rozrachunku utw\u00f3r <em>Imprinting<\/em>, kt\u00f3ry wybra\u0142a do promocji nowego albumu <em>Travel<\/em>, jest najs\u0142abszym punktem p\u0142yty. Cho\u0107 w og\u00f3le wycinanie singli w wypadku Australijczyk\u00f3w zdarzy\u0107 si\u0119 mo\u017ce rzadko: ten 77-minutowy zestaw sk\u0142ada si\u0119 akurat z a\u017c czterech nagra\u0144, a 20-minutowy utw\u00f3r to u The Necks kr\u00f3tka forma, by\u0142o w czym wybiera\u0107. I cho\u0107 <em>Imprinting<\/em> najs\u0142absze, to jako\u015b\u0107 ca\u0142ego zestawu bardzo wysoka: nie do\u015b\u0107, \u017ce jak zwykle nagrania The Necks s\u0105 \u0107wiczeniami ze skupienia, pozwalaj\u0105 przeprogramowa\u0107 my\u015blenie o muzyce, na nowo zachwyci\u0107 si\u0119 tym, \u017ce mo\u017cna s\u0142ucha\u0107 w innym tempie, to jeszcze pozostawiaj\u0105 w tej wersji pewien niedosyt i zr\u0119cznie opowiadaj\u0105 histori\u0119 zespo\u0142u.&nbsp;<\/p>\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/sPwqBHTNx3k\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"><\/iframe>\n\n\n<p>Od <em>Signal<\/em>, kt\u00f3ry jest improwizacj\u0105 opart\u0105 na kontrabasowym motywie Lloyda Swantona, wyj\u0105tkowo groove&#8217;owym, mocno synkopowanym, zaz\u0119biaj\u0105cym si\u0119 po kilku minutach z lini\u0105 perkusji niemal\u017ce w riddim reggae, idziemy w stopniowo w stron\u0119 bardziej impresyjnych form. W tych zmieniaj\u0105 si\u0119 w pierwszej kolejno\u015bci elementy brzmienia, akcent przesuwa si\u0119 w stron\u0119 Tony&#8217;ego Bucka, Chris Abrahams gra powoli transformowane motywy w skalach modalnych. Tak docieramy do najbardziej efektownego <em>Bloodstream<\/em>, kt\u00f3re medytacyjno\u015b\u0107 \u0142\u0105czy ze zrywaj\u0105c\u0105 si\u0119 do niemal swingowego grania parti\u0105 fortepianu, a p\u00f3\u017aniej przechodzi w perkusyjne tremola i \u015bwietnie buduje nieustanny suspens.<\/p>\n<p>Elementem sygnalizuj\u0105cym ewolucj\u0119 zespo\u0142u &#8211; bardzo powoln\u0105, bo trwaj\u0105c\u0105 od jakich\u015b 35 lat, s\u0105 partie organowe Chrisa Abrahamsa, kt\u00f3ry ostatnio coraz cz\u0119\u015bciej si\u0119ga po ten instrument. A ca\u0142o\u015b\u0107 pozostaje zr\u0119cznym balansowaniem na kraw\u0119dzi minimalu &#8211; kiedy nut przybywa w zbyt wysokim tempie, robi si\u0119 za \u0142adnie i za s\u0142odko &#8211; ale przez tyle lat bardzo w sumie okazjonalnych spotka\u0144 (muzycy opowiadaj\u0105 o tym w nowym &#8222;The Wire&#8221;, kt\u00f3re po zmianie makiety czyta si\u0119 z du\u017cym trudem) trio nauczy\u0142o si\u0119 utrzyma\u0107 t\u0119 r\u00f3wnowag\u0119 w spos\u00f3b genialny.<\/p>\n<p><span style=\"font-size: inherit;\">Dla tych, kt\u00f3rych znudzi\u0142a ju\u017c ta formu\u0142a grania &#8211; w co nie do ko\u0144ca wierz\u0119 &#8211; mam na koniec przynajmniej jedn\u0105 informacj\u0119 z gatunku zaskakuj\u0105cych. Ot\u00f3\u017c je\u015bli owo <em>Signal<\/em>, szczeg\u00f3lnie gdzie\u015b w pierwszej cz\u0119\u015bci, zap\u0119tlicie sobie na gramofonie, macie gotowego breaka, na kt\u00f3rym mo\u017cna oprze\u0107 beat hiphopowy w do\u015b\u0107 tradycyjnym stylu. Mo\u017cecie na tym podk\u0142adzie nawin\u0105\u0107 &#8211; dla rozlu\u017anienia nastroju &#8211; zwrotk\u0119 o tym, \u017ce po Australijczykach trudno si\u0119 by\u0142o czego\u015b takiego spodziewa\u0107.&nbsp; &nbsp;&nbsp;<\/span><\/p>\n<p><strong>THE NECKS <em>Travel<\/em><\/strong>, Northern Spy 2023&nbsp;<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3267812022\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless=\"\"><a href=\"https:\/\/thenecksau.bandcamp.com\/album\/travel\">Travel by The Necks<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>18.02 <strong>Skrillex<\/strong> Don&#8217;t Get Too Close, Atlantic <br \/>18.02 <strong>Steve Roden<\/strong> Winter Couplet, Room40 <br \/>19.02 <strong>Grand River<\/strong> All Above, Editions Mego <br \/>19.02 <strong>Voices of the Cosmos<\/strong> Deep Fields, Zoharum <br \/>20.02 <strong>Beqa Ungiadze<\/strong> PSALM011: \u10e1\u200b\u10d0\u200b\u10d3\u200b\u10d2\u200b\u10e3\u200b\u10e0\u200b\u10d8 [Station], Phantom Limb <br \/>21.02 <strong>Trupa Trupa<\/strong> ttt, Glitterbeat <br \/>22.02 <strong>DJ Blik<\/strong> Topia, U Know Me EP<br \/>23.02 <strong>Indalaska<\/strong> Musique des Sables, Zoharum <br \/>23.02 <strong>RSS B0Y 1<\/strong> H0L0, Sat00rna <br \/>23.02 <strong>The Strokes<\/strong> The Singles: Volume 1, Rough Trade <br \/>24.02 <strong>3Phaz<\/strong> Ends Meet, Discrepant <br \/>24.02 <strong>Afro Kolektyw<\/strong> Ostatnie s\u0142owo, Thin Man <br \/>24.02 <strong>Alexander Tucker &amp; Keith Collins<\/strong> Fifth Continent, Subtext <br \/>24.02 <strong>Algiers<\/strong> Shook, Matador <br \/>24.02 <strong>Amen Seat<\/strong> Amen Seat, Deathbomb Arc <br \/>24.02 <strong>Anemic Cinema<\/strong> Iconoclasts, Ramble <br \/>24.02 <strong>Beata Kozidrak<\/strong> 4B, Sony <br \/>24.02 <strong>BIG|BRAVE<\/strong> Nature Morte, Thrill Jockey <br \/>24.02 <strong>Bria<\/strong> Country Covers vol. 2, Sub Pop <br \/>24.02 <strong>Circus\/Citadel<\/strong> Antti L\u200b\u00f6\u200btj\u200b\u00f6\u200bnen, We Jazz <br \/>24.02 <strong>CM von Hausswolff &amp; Chandra Shukla<\/strong> Travelogue [Bali], Touch <br \/>24.02 <strong>Don Toliver<\/strong> Love Sick, Atlantic <br \/>24.02 <strong>Drew Gardner<\/strong> The Return, Astral Spirits <br \/>24.02<strong> Earth Trax<\/strong> Closer Now, Lapsus <br \/>24.02 <strong>Eugene Chadbourne<\/strong> What&#8217;s Been Baking, Ramble <br \/>24.02 <strong>Faten Kanaan<\/strong> Afterpoem, Fire <br \/>24.02 <strong>Godsmack<\/strong> Lighting Up the Sky, BMG <br \/>24.02 <strong>Gorillaz<\/strong> Cracker Island, Warner <br \/>24.02 <strong>gum.mp3<\/strong> Riddim Seeker, Ghostly EP<br \/>24.02 <strong>Hajda Banda \/ \u0413\u0430\u0439\u0434\u0430 \u0411\u0430\u043d\u0434\u0430<\/strong> Hajda! <br \/>24.02<strong> Hako Yamasaki<\/strong> Tsunawatari, WRWTFWW <br \/>24.02<strong> Hako Yamasaki<\/strong> Tobimasu, WRWTFWW reed<br \/>24.02 <strong>Heinali<\/strong> Kiyv Eternal, Injazero <br \/>24.02 <strong>Iris DeMent<\/strong> Workin\u2019 on a World, Flariella <br \/>24.02 <strong>Ironomi<\/strong> Himorogi, Kitchen Label <br \/>24.02 <strong>J. Vague<\/strong> Silver, Mansions &amp; Millions <br \/>24.02 <strong>Kaitlyn Aurelia Smith<\/strong> Let&#8217;s Turn It Into Sound Remixes, Ghostly EP<br \/>24.02 <strong>Kassel Jaeger<\/strong> Shifted in Dreams, Shelter Press <br \/>24.02 <strong>Katrina Krimsky<\/strong> &#8222;1980&#8221;, Unseen Worlds arch<br \/>24.02 <strong>KSU<\/strong> &#8222;44&#8221;, Mystic <br \/>24.02 <strong>Lisa Marie Simmons, Marco Cremaschini<\/strong> Notespeak 12, Ropeadope <br \/>24.02 <strong>Logic<\/strong> College Park, Three Oh One <br \/>24.02 <strong>Mat Muntz<\/strong> Phantom Islands, Orenda <br \/>24.02 <strong>Mattias Petersso<\/strong>n Triangular Progressions, Hallow Ground <br \/>24.02 <strong>Meemo Comma<\/strong> Loverboy, Planet Mu <br \/>24.02 <strong>Neutral Milk Hotel<\/strong> The Collected Works of Neutral Milk Hotel, Merge arch<br \/>24.02 <strong>NNAMD\u00cf<\/strong> Please Have a Seat Deluxe, Secretly Canadian <br \/>24.02 <strong>Oran\u017cada<\/strong> Karma tango, Audio Cave CD, DL<br \/>24.02 <strong>Owen Pallett<\/strong> The Two EPs, Secret City <br \/>24.02 <strong>Philip Selway<\/strong> Strange Dance, Bella Union <br \/>24.02 <strong>Poil Ueda<\/strong> Poil Ueda, Dur &amp; Doux <br \/>24.02 <strong>ReTo<\/strong> Styxxxx <br \/>24.02 <strong>Ronnie &amp; Clyde<\/strong> Nettlebed Skyline, Gearbox <br \/>24.02 <strong>Rzekomo<\/strong> Spiritual Wastefulness, EP<br \/>24.02 <strong>Saint Abdullah &amp; Jason Nazary<\/strong> Evicted in the Morning, Disciples <br \/>24.02 <strong>Sam Gendel<\/strong> Cookup, Nonesuch <br \/>24.02 <strong>Shame<\/strong> Food For Worms <br \/>24.02 <strong>Snow Ghosts<\/strong> The Fell, Houndstooth<br \/>24.02 <strong>Steve Swell, Joe McPhee, Chris Corsano<\/strong> Sometimes the Air Is, Mahakala <br \/>24.02<strong> Tha God Fahim<\/strong> Iron Bull, Nature Sounds <br \/>24.02<strong> The Black Dog<\/strong> Music for Airport Lounges <br \/>24.02 <strong>The Necks<\/strong> Travel, Norther Spy <br \/>24.02 <strong>Tigeroak<\/strong> Living and Living, April <br \/>24.02 <strong>Tunico<\/strong> Tunico, Far Out <br \/>24.02 <strong>Ty Segall &amp; Emmett Kelly<\/strong> Live at Workship, Drag City <br \/>24.02 <strong>U.S. Girls<\/strong> Bless the Mess, 4AD <br \/>24.02 <strong>Yeat<\/strong> Aft\u00ebrLyfe, TwizzyRich<\/p>\n<p>\u00a0<\/p>","protected":false},"excerpt":{"rendered":"<p>Grupa The Necks, jedna z moich ulubionych, nie potrafi wydawa\u0107 singli. W ostatecznym rozrachunku utw\u00f3r Imprinting, kt\u00f3ry wybra\u0142a do promocji nowego albumu Travel, jest najs\u0142abszym punktem p\u0142yty. Cho\u0107 w og\u00f3le wycinanie singli w wypadku Australijczyk\u00f3w zdarzy\u0107 si\u0119 mo\u017ce rzadko: ten 77-minutowy zestaw sk\u0142ada si\u0119 akurat z a\u017c czterech nagra\u0144, a 20-minutowy utw\u00f3r to u The [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":36785,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,444,3309,4009,3666,5601],"tags":[1543],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/36782"}],"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=36782"}],"version-history":[{"count":5,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/36782\/revisions"}],"predecessor-version":[{"id":36802,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/36782\/revisions\/36802"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/36785"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=36782"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=36782"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=36782"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}