{"id":37159,"date":"2023-03-17T10:13:12","date_gmt":"2023-03-17T09:13:12","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=37159"},"modified":"2023-03-17T10:32:06","modified_gmt":"2023-03-17T09:32:06","slug":"okrezna-droga-na-szczyt","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2023\/03\/17\/okrezna-droga-na-szczyt\/","title":{"rendered":"Okr\u0119\u017cn\u0105 drog\u0105 na szczyt"},"content":{"rendered":"<p>Winyle prze\u015bcign\u0119\u0142y CD w USA ju\u017c nie tylko pod wzgl\u0119dem warto\u015bci, ale i liczby sprzedanych egzemplarzy. Tak donosi <a href=\"https:\/\/www.riaa.com\/wp-content\/uploads\/2023\/03\/2022-Year-End-Music-Industry-Revenue-Report.pdf\">najnowszy roczny raport RIAA<\/a>. Ale tam, gdzie niekt\u00f3rzy chc\u0105 widzie\u0107 nieko\u0144cz\u0105c\u0105 si\u0119 hoss\u0119, sam widzia\u0142bym raczej stabilizacj\u0119 rynku. Bran\u017ca szuka sufitu sprzeda\u017cy, wi\u0119c przeinwestowuje, t\u0142ocz\u0105c masowo poszczeg\u00f3lne tytu\u0142y, i cz\u0119\u015b\u0107 z nich trafi wi\u0119c w ko\u0144cu na przeceny. Przynajmniej os\u0142awiony winyl Adele <em>30<\/em> pojawi\u0142 si\u0119 w\u0142a\u015bnie &#8211; co <a href=\"https:\/\/twitter.com\/RigbyGender\/status\/1635345310775115776?s=20\">raportowa\u0142o na Twitterze kilka os\u00f3b<\/a> &#8211; w koszach wyprzeda\u017cowych sieci Goodwill. Spr\u00f3bowa\u0142bym w tym wi\u0119c dostrzec normalny koniec tego podniecenia: obni\u017cki cen na nowe, zafoliowane czarne p\u0142yty. Ju\u017c teraz widz\u0119 zni\u017cki w sklepach internetowych nieco regularniej. I niekupowanie za pe\u0142n\u0105 cen\u0119 album\u00f3w, kt\u00f3re za chwil\u0119 trafi\u0105 do koszy, uwa\u017cam za co\u015b, czego powinien \u017cyczy\u0107 swoim osobom czytelniczym blog o muzyce z kraju \u015bredniej wielko\u015bci. Nie inwestujcie wi\u0119c w M\u00e5neskin, zamiast tego obstawiajcie <strong>Yvesa Tumora<\/strong>. Cho\u0107by jako lokat\u0119 kapita\u0142u, kt\u00f3ra jednak &#8211; jak \u0142atwo si\u0119 przekona\u0107 &#8211; okazuje si\u0119 te\u017c lepiej znosz\u0105c\u0105 pr\u00f3b\u0119 czasu i bardziej aktualn\u0105 tw\u00f3rczo\u015bci\u0105.\u00a0 \u00a0\u00a0<\/p>\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/tsOi9znJmEo\" 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>Tumor stoi dzi\u015b blisko muzycznego \u015brodka, cho\u0107 dotar\u0142 tu okr\u0119\u017cn\u0105, a nawet bardzo kr\u0119t\u0105 drog\u0105, poprzez zau\u0142ki sceny alternatywnej. Tworzy \u015bwietny pop, cho\u0107 w zbrudzonej brzmieniowo i psychodelicznej konwencji. A przy wszystkich poprzebieranych w zn\u00f3w modne glamowe ciuchy wydaje si\u0119 tym, na kt\u00f3rym wygl\u0105daj\u0105 odpowiednio dziwnie. Zawieszony nie tylko w niebinarno\u015bci, ale te\u017c gdzie\u015b pomi\u0119dzy rockow\u0105 a popow\u0105 wra\u017cliwo\u015bci\u0105, mi\u0119dzy delikatno\u015bci\u0105 a agresj\u0105, a nawet gdzie\u015b mi\u0119dzy anio\u0142em konwencjonalnym a upad\u0142ym, sprawia wra\u017cenie artysty, kt\u00f3ry si\u0119 dobrze wymy\u015bli\u0142. Troch\u0119 jak Prince i troch\u0119 jak Bowie (nawet nazywa si\u0119 Bowie &#8211; tyle \u017ce Sean Bowie to w jego wypadku prawdziwe nazwisko), a troch\u0119 jak Grace Jones (i z ni\u0105 bywa\u0142 zestawiany), albo Robert Smith (sam <a href=\"https:\/\/polifonia.blog.polityka.pl\/2020\/04\/15\/typowo-nietypowy-typ\/\">por\u00f3wnywa\u0142em go poprzednio z The Cure<\/a>), lecz dynamika kariery jednak inna. Z wytw\u00f3rni PAN Records przeszed\u0142 do Warpa, z Unsoundu na Coachell\u0119 (i <a href=\"https:\/\/followthestep.com\/pl\/koncert\/yves-tumor-3\/\">do Progresji<\/a>), ale kolejny krok w stron\u0119 mainstreamu wydaje si\u0119 nieunikniony. Szczeg\u00f3lnie bior\u0105c pod uwag\u0119 potencja\u0142 <em>Praise a Lord&#8230;<\/em> &#8211; a Tumor potwierdza tu sw\u00f3j talent autora my\u015bl\u0105cego riffem, tyle \u017ce akcent z gitary przestawiaj\u0105cym w stron\u0119 basu, na kt\u00f3rym gra u niego stale Gina Ramirez. Do produkcji p\u0142yty zatrudni\u0142 Noah Goldsteina, parokrotnego zdobywc\u0119 Grammy za przedsi\u0119wzi\u0119cia rynkowo mocne, a zarazem do\u015b\u0107 progresywne &#8211; od Kanyego Westa po Rosali\u0119. A do pakietu \u015bwietnych singli doda\u0142 w\u0142a\u015bnie <em>Parody <\/em>i za chwil\u0119 powinien do\u0142\u0105czy\u0107 &#8211; typuj\u0119 &#8211; <em>In Spite of War<\/em>. Prawie wszystkie w jaki\u015b spos\u00f3b odnosz\u0105 si\u0119 w tekstach do figury dziwaka i przekroczenia konwencji. P\u00f3jd\u0119 za swoj\u0105 tez\u0105 sprzed paru lat: mo\u017ce by\u0107 tak, \u017ce Tumor stoi tu, gdzie sta\u0142, tylko \u015bwiat si\u0119 przesuwa &#8211; i tak si\u0119 sk\u0142ada, \u017ce akurat w jego kierunku.\u00a0<\/p>\n<p><strong>YVES TUMOR <em>Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)<\/em><\/strong>, Warp 2023\u00a0<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1250119429\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/yves-tumor.bandcamp.com\/album\/praise-a-lord-who-chews-but-which-does-not-consume-or-simply-hot-between-worlds\">Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) by Yves Tumor<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>11.03 <strong>Agnes House<\/strong> Sequel Opal Tapes <br \/>11.03 <strong>Crown Of Cerberus<\/strong> Flowers Emerge from Every Step She Takes Opal Tapes <br \/>11.03 <strong>Filmmaker<\/strong> Artillery Material Opal Tapes <br \/>11.03 <strong>Natural Causes<\/strong> I-V Opal Tapes <br \/>11.03<strong> Tomo-Nakaguchi<\/strong> The Long Night in Winter Light Audiobulb <br \/>15.03<strong> Early Fern<\/strong> Perpetual Care Metron <br \/>15.03 <strong>Michael Arbenz<\/strong> Reflections of D <br \/>15.03<strong> Trevor Tomkins\u2019 Sextant<\/strong> For Future Reference Jazz In Britain <br \/>16.03 <strong>Aaron Leaney feat. Guy Thouin<\/strong> Lockdown Astral Spirits <br \/>16.03 <strong>Abdullah Ibrahim<\/strong> African Magic Enja &amp; Yellowbird <br \/>16.03 <strong>DJ Black Low<\/strong> Impumelelo Awesome Tapes From Africa <br \/>16.03 <strong>Dorothy Moskowitz &amp; The United States of Alchemy<\/strong> Under an Endless Sky Tompkins Square <br \/>16.03 <strong>Tenors Of Kalma<\/strong> Sounds of Salo Enja &amp; Yellowbird <br \/>17.03 <strong>100 gecs<\/strong> 10,000 gecs Atlantic <br \/>17.03 <strong>All Time Low<\/strong> Tell Me I&#8217;m Alive Fueled By Ramen <br \/>17.03 <strong>ARU\u00c1N ORTIZ TRIO with Brad Jones and John Betsch<\/strong> Serran\u200b\u00ed\u200bas Sketchbook for Piano Trio Intakt <br \/>17.03 <strong>Blaine L. Reininger<\/strong> Ocean Planet Dark Companion <br \/>17.03 <strong>Bodikhuu<\/strong> Tokyo Mississippi <br \/>17.03<strong> Chelsea Grin<\/strong> Suffer in Heaven ONErpm <br \/>17.03 <strong>Death And Vanilla<\/strong> Flicker, Fire <br \/>17.03 <strong>Deathcrash<\/strong> Less <br \/>17.03 <strong>Dedalus Ensemble<\/strong> Brian Eno Performed by Dedalus Ensemble, Sub Rosa <br \/>17.03 <strong>DJ Girl<\/strong> Hellworld, Planet Mu <br \/>17.03 <strong>Dwight Trible<\/strong> Ancient Future, Gearbox <br \/>17.03 <strong>Emil\u00edana Torrini &amp; The Colorist Orchestra<\/strong> Racing the Storm, Bella Union <br \/>17.03 <strong>Genevieve Artadi<\/strong> Forever Forever, Brainfeeder <br \/>17.03 <strong>Gerald Cleaver, Brandon Lopez, Hprizm<\/strong> In The Wilderness, 577 Records <br \/>17.03 <strong>Gideon<\/strong> More Power. More Pain, Equal Vision <br \/>17.03 <strong>Hozier<\/strong> Eat Your Young, EP<br \/>17.03<strong> John Zorn<\/strong> &#8222;444&#8221;, Tzadik <br \/>17.03 <strong>JuJu<\/strong> A Message from Mozambique, Strut arch<br \/>17.03 <strong>KIRBY, Ni\u2019jah, KIRBY &amp; Childish Gambino<\/strong> Swarm, EP<br \/>17.03<strong> Koko Die<\/strong> Some of Your Pain, Fonobo <br \/>17.03 <strong>Kruelty<\/strong> Untopia, Profound Lore <br \/>17.03 <strong>Laura Schuler Quartet<\/strong> Sue\u00f1os Paralelos, Antidro <br \/>17.03 <strong>Lil Keed<\/strong> Keed Talk To \u2018Em 2, YSL <br \/>17.03 <strong>Lil Pump<\/strong> Lil Pump 2, Warner <br \/>17.03 <strong>Lionmilk<\/strong> Intergalactic Warp Terminal 222, Leaving <br \/>17.03<strong> Little Annie meets Night Foundation<\/strong> Inertia, Noir Age EP<br \/>17.03 <strong>M83<\/strong> Fantasy, Mute<br \/>17.03<strong> Marc Romboy<\/strong> Music Made for Aliens Awesome, Soundwave <br \/>17.03 <strong>Marie Kruttli<\/strong> Transparence, Intakt <br \/>17.03 <strong>Moderat<\/strong> Even More D4ta, Monkeytown <br \/>17.03 <strong>PESH<\/strong> Peshish, AMP Music &amp; Records AS <br \/>17.03 <strong>Primitive Motion<\/strong> Portrait of an Atmosphere, Room40 <br \/>17.03 <strong>Remont Pomp \/ Miko\u0142aj Trzaska \/ Rabih Beaini \/ Ken Vandermark<\/strong> Concert at World not known enough Festival, Don&#8217;t Sit On My Vinyl \/ Kilogram 10&#8243; clear ltd<br \/>17.03 <strong>Rockatoxx<\/strong> The World&#8217;s Ending!, 1000 Miles Deep <br \/>17.03<strong> T-Pain<\/strong> On Top of the Covers, Nappy Boy <br \/>17.03 <strong>The Free Music<\/strong> Free Music (Part 1), Habibi Funk <br \/>17.03 <strong>U2<\/strong> Songs of Surrender, Island <br \/>17.03 <strong>Unknown Mortal Orchestra<\/strong> &#8222;V&#8221;, Jagjaguwar <br \/>17.03 <strong>Wiktor Dydu\u0142a<\/strong> Pal licho!, Polydor <br \/>17.03 <strong>Yves Tumor<\/strong> Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds), Warp <br \/>17.03 <strong>Zohra<\/strong> Murder in the Temple, American Dreams<\/p>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Winyle prze\u015bcign\u0119\u0142y CD w USA ju\u017c nie tylko pod wzgl\u0119dem warto\u015bci, ale i liczby sprzedanych egzemplarzy. Tak donosi najnowszy roczny raport RIAA. Ale tam, gdzie niekt\u00f3rzy chc\u0105 widzie\u0107 nieko\u0144cz\u0105c\u0105 si\u0119 hoss\u0119, sam widzia\u0142bym raczej stabilizacj\u0119 rynku. Bran\u017ca szuka sufitu sprzeda\u017cy, wi\u0119c przeinwestowuje, t\u0142ocz\u0105c masowo poszczeg\u00f3lne tytu\u0142y, i cz\u0119\u015b\u0107 z nich trafi wi\u0119c w ko\u0144cu na [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":37164,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,444,4156,3309,4009,4993,5601],"tags":[2649],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/37159"}],"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=37159"}],"version-history":[{"count":16,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/37159\/revisions"}],"predecessor-version":[{"id":37177,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/37159\/revisions\/37177"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/37164"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=37159"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=37159"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=37159"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}