{"id":39690,"date":"2023-09-01T09:23:59","date_gmt":"2023-09-01T07:23:59","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=39690"},"modified":"2023-09-01T12:39:39","modified_gmt":"2023-09-01T10:39:39","slug":"graja-dla-was-wolno-bo","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2023\/09\/01\/graja-dla-was-wolno-bo\/","title":{"rendered":"Graj\u0105 dla was wolno, bo&#8230;"},"content":{"rendered":"<p>&#8230;lubimy wolno s\u0142ucha\u0107? Dlatego pisanie na szybko o nowym albumie <strong>Slowdive<\/strong> to zadanie niezbyt wdzi\u0119czne. Pi\u0105ta p\u0142yta brytyjskiego zespo\u0142u w ci\u0105gu 32 lat brzmi jednak imponuj\u0105co: single zapowiada\u0142y du\u017co, utwory albumowe oferuj\u0105 nierzadko wi\u0119cej, szczeg\u00f3lnie <em>Shanty<\/em> i <em>Chained to a Cloud<\/em> (ze znanych wcze\u015bniej:<em> Skin in the Game<\/em>). Konwencja rozmazanego, sennego grania gitarowego jest powszechnie znana od czas\u00f3w The Cure z p\u00f3\u017anych lat 80., poprzez ca\u0142y shoegaze, kt\u00f3rego Slowdive byli wa\u017cnymi przedstawicielami. Z dzisiejszego punktu widzenia &#8211; coraz wa\u017cniejszymi. Nie ma bowiem przypadku w tym, jak operuj\u0105 gitarowymi efektami &#8211; partiami pog\u0142osu i echa &#8211; Neil Halstead i Christian Savill. Mo\u017cna si\u0119 tylko cieszy\u0107, \u017ce wsp\u00f3\u0142czesne, cyfrowe, krystalicznie czyste brzmieniowo urz\u0105dzenia nowej generacji Strymona i Neunabera znalaz\u0142y odpowiednie zastosowanie i kto\u015b rzeczywi\u015bcie testuje ich mo\u017cliwo\u015bci. Owszem, jest to muzyka elegancka i zachowawcza, niewychodz\u0105ca poza konwencj\u0119, si\u0119gaj\u0105ca co najwy\u017cej po elementy postrockowych arpeggi\u00f3w, zrealizowana zosta\u0142a jednak z pe\u0142n\u0105 kontrol\u0105, wyprodukowana \u015bwietnie &#8211; i niezmiennie robi wra\u017cenie. A co do tej ca\u0142ej zabawy zwalnianym, czasem do przesady, tempem utwor\u00f3w &#8211; timing wydawniczy nowego albumu te\u017c wydaje si\u0119 idealny. \u017baden okres nie m\u00f3wi nam o wahaniach tempa &#8211; o intensywno\u015bci \u017cycia zmieniaj\u0105cej si\u0119 troch\u0119 wbrew wewn\u0119trznemu zegarowi &#8211; tak du\u017co jak prze\u0142om sierpnia i wrze\u015bnia.\u00a0 \u00a0\u00a0<\/p>\n<p><strong>SLOWDIVE <em>Everything Is Alive<\/em><\/strong>, Dead Oceans 2023\u00a0 \u00a0<\/p>\n\n\n<!--more-->\n\n\n\n<iframe style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/2jSmcj39eQiU76EbMGuxS0?utm_source=generator\" width=\"100%\" height=\"352\" 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>28.08 <strong>Garosi, Simons, Jone<\/strong>s Zodiac, Dark Companion <br \/>28.08 <strong>John Greaves, Annie Barbazza<\/strong> Earthly Powers, Dark Companion <br \/>28.08 <strong>Mary Yalex<\/strong> Fantasy Zone, A Strangely Isolated Place <br \/>28.08 <strong>Nathaniel Young<\/strong> Sin Has Left a Crimson Stain, Mysteries Of The Deep <br \/>28.08 <strong>Sarmacja<\/strong> Tropiki w jej oczach EP<br \/>29.08 <strong>Tapir!<\/strong> Act 2 (Their God), Heavenly EP<br \/>31.08 <strong>Abigail Toll<\/strong> Matrices of Vision, Shelter Press <br \/>31.08<strong> dad\u00e1 Jo\u00e3ozinho<\/strong> tds bem Global, Innovative Leisure <br \/>1.09 <strong>Alf Carlsson<\/strong> Lights, Naxos Prophone <br \/>1.09 <strong>Anthene<\/strong> Mainland, Archives <br \/>1.09 <strong>Armen Nalbandian &amp; Chris Corsano<\/strong> A Spontaneous Breaking of Symmetry I <br \/>1.09 <strong>Aunty Razor<\/strong> Viral Wreckage, Hakuna Kulala <br \/>1.09 <strong>b.michaael<\/strong> Gore, Orange Milk <br \/>1.09<strong> Black Bombaim<\/strong> Black Bombaim, Lovers &amp; Lollypops reed<br \/>1.09 <strong>Brian Eno<\/strong> Top Boy OST, Netflix <br \/>1.09 <strong>Chihei Hatakeyama<\/strong> Hachir\u014dgata Lake, Field <br \/>1.09 <strong>Empire State Bastard<\/strong> Rivers of Heresy, Roadrunner<br \/>1.09 <strong>Flamingo Pier<\/strong> Beneath the Neon EP, Razor-N-Tape <br \/>1.09 <strong>Gift Horse<\/strong> Cultural Payout, Husky Pants <br \/>1.09<strong> Icona Pop<\/strong> Club Romantech, Ultra <br \/>1.09 <strong>Islet<\/strong> Soft Fascination, Fire <br \/>1.09 <strong>Jean-Michel Jarre<\/strong> Les granges br\u200b\u00fb\u200bl\u200b\u00e9\u200bes OST, Transversales reed<br \/>1.09 <strong>Jeff Rosenstock<\/strong> Hellmode, Polyvinyl <br \/>1.09<strong> Jerzyk Krzy\u017cyk<\/strong> Ba\u0142tyk, Dyspensa<br \/>1.09 <strong>Kris Davis<\/strong> Diatom Ribbons Live at the Village Vanguard<br \/>1.09 <strong>Luft (Erwan Keravec &amp; Mats Gustafsson)<\/strong> Exhale &#8211; Volume 2, Bocian <br \/>1.09 <strong>Maja Miro \/ Katarzyna Podpora \/ Max Kohyt<\/strong> Mid_Evil, Bocian<br \/>1.09 <strong>Marduk<\/strong> Memento Mori, Century Media<br \/>1.09 <strong>Menagerie<\/strong> The Shores of Infinity, Freestyle <br \/>1.09 <strong>Mistakes<\/strong> Embryo, TV Show <br \/>1.09 <strong>Otto Willberg<\/strong> The Leisure Principle, Black Truffle <br \/>1.09 <strong>P.G.Six<\/strong> Murmurs &amp; Whispers, Drag City <br \/>1.09 <strong>Paulo Almeida<\/strong> Oferenda, ANUK Label <br \/>1.09 <strong>Polaris<\/strong> Fatalism, Sharptone<br \/>1.09 <strong>Puma Blue<\/strong> Holy Waters, Blue Flowers <br \/>1.09 <strong>Resina &amp; Hubert Zemler<\/strong> Ukryta sie\u0107 OST, Coastline Northern Cuts <br \/>1.09 <strong>Royal Blood<\/strong> Back to the Water Below, Warner <br \/>1.09 <strong>Saddam Webcam<\/strong> Exc\u200b\u00e8\u200bs de beurre et Ruine morale, Dur &amp; Doux <br \/>1.09 <strong>Simi Fyda<\/strong> Yuri, Enjoy Life <br \/>1.09 <strong>Slowdive<\/strong> Everything Is Alive, Dead Oceans <br \/>1.09 <strong>Smoke DZA &amp; Flying Lotus<\/strong> Flying Objects, EP<br \/>1.09 <strong>SOEN<\/strong> Memorial <br \/>1.09 <strong>Sofia Grant<\/strong> Extinction, Jazz Re: Freshed <br \/>1.09<strong> Spirit Of The Beehive<\/strong> I&#8217;m So Lucky, Saddle Creek <br \/>1.09 <strong>Sprain<\/strong> The Lamb as Effigy, The Flenser <br \/>1.09 <strong>Tiny Skulls<\/strong> Songs From Some Depressing Movie <br \/>1.09 <strong>Torben Westergaard<\/strong> The Gori Project II <br \/>1.09 <strong>VA<\/strong> Total 23, Kompakt<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=518621864\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/slowdive.bandcamp.com\/album\/everything-is-alive\">everything is alive by Slowdive<\/a><\/iframe>\n","protected":false},"excerpt":{"rendered":"<p>&#8230;lubimy wolno s\u0142ucha\u0107? Dlatego pisanie na szybko o nowym albumie Slowdive to zadanie niezbyt wdzi\u0119czne. Pi\u0105ta p\u0142yta brytyjskiego zespo\u0142u w ci\u0105gu 32 lat brzmi jednak imponuj\u0105co: single zapowiada\u0142y du\u017co, utwory albumowe oferuj\u0105 nierzadko wi\u0119cej, szczeg\u00f3lnie Shanty i Chained to a Cloud (ze znanych wcze\u015bniej: Skin in the Game). Konwencja rozmazanego, sennego grania gitarowego jest powszechnie [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":39692,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,444,3309,4009,4993,7,5601,106],"tags":[1736],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/39690"}],"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=39690"}],"version-history":[{"count":8,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/39690\/revisions"}],"predecessor-version":[{"id":39702,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/39690\/revisions\/39702"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/39692"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=39690"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=39690"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=39690"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}