{"id":40381,"date":"2023-10-20T10:51:18","date_gmt":"2023-10-20T08:51:18","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=40381"},"modified":"2023-10-20T14:33:24","modified_gmt":"2023-10-20T12:33:24","slug":"mapa-popu","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2023\/10\/20\/mapa-popu\/","title":{"rendered":"Mapa popu"},"content":{"rendered":"<p>W tym tygodniu, do\u015b\u0107 mocnym w muzyce \u015brodka, postaram si\u0119 zbytnio nie powtarza\u0107. The Rolling Stones na pierwszej p\u0142ycie z autorskim repertuarem od 18 lat brzmi\u0105 najlepiej od 42 lat, ale o tym <a href=\"https:\/\/www.polityka.pl\/tygodnikpolityka\/kultura\/muzyka\/2231062,1,recenzja-plyty-the-rolling-stones-hackney-diamonds.read\">opowiadam w POLITYCE<\/a>. Daria Zawia\u0142ow, kt\u00f3rej <em>Helsinki<\/em> <a href=\"https:\/\/polifonia.blog.polityka.pl\/2019\/03\/15\/po-pierwsze-nie-przeszkadzac\/\">kiedy\u015b tu opisywa\u0142em<\/a>, wyda\u0142a w\u0142a\u015bnie najlepszy album w karierze, ale ten prze\u0142om omawiamy w podka\u015bcie, kt\u00f3ry <a href=\"https:\/\/www.polityka.pl\/podkasty\/kulturanaweekend\/2231908,1,nowa-plyta-darii-zawialow-piosenki-z-google-maps.read\">ju\u017c si\u0119 pojawi\u0142<\/a>. To dalej jest troch\u0119 pop do \u015bledzenia z Google Maps, ale nie tylko. Podobnie najnowszy Sampha &#8211; tyle \u017ce tu najlepsz\u0105 p\u0142yt\u0119 w dyskografii wystarczy wybra\u0107 z dw\u00f3ch. Zatrzymam si\u0119 jednak przy<strong> Ana Frango El\u00e9trico<\/strong> &#8211; z kilku powod\u00f3w.\u00a0 Po pierwsze, w sierpniu opisywa\u0142em kompilacj\u0119 <em>Hidden Waters<\/em> po\u015bwi\u0119con\u0105 nowej muzyce z Rio de Janeiro. A trzecia p\u0142yta w dyskografii tej postaci to mo\u017ce rzecz kr\u00f3tka, a muzyka lekka i niezobowi\u0105zuj\u0105ca, ale jednak w solowej karierze zapewne prze\u0142om.\u00a0<\/p>\n\n\n<!--more-->\n\n\n\n<iframe width=100% height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ISl88_PqUlk?si=FQ5hJzyf-ZVby6SO\" 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>Na stronie polskiego dystrybutora Mr Bongo, gdzie albumu jeszcze nie ma, wy\u015bwietla mi si\u0119 ostatnia p\u0142yta Roisin Murphy. Bardzo udana, ale w sumie nietrudno sobie dok\u0142adnie w tym miejscu wyobrazi\u0107 album <em>Me chama de gato que eu sou sua<\/em>. Zbudowany z jednej strony na tradycji roz\u015bpiewanej i bogato aran\u017cowanej M\u00fasica Popular Brasileira (Ana Frango El\u00e9trico protestuje, m\u00f3wi\u0105c o bossie w punkowym stylu, ale nies\u0142usznie), a z drugiej &#8211; na ameryka\u0144skim disco i boogie. Fantastycznie lekkim i bezczelnie eklektycznym, a nawet ekscentrycznym, zawieszonym gdzie\u015b pomi\u0119dzy, tak\u017ce je\u015bli chodzi o barw\u0119 i charakter wokalu.<em> I\u2019m the boy of the Stranger Things \/ I\u2019m not the girl that you think<\/em> &#8211; \u015bpiewa Ana Frango El\u00e9trico (prywatnie Ana Faria Fainguelernt), a ja jeszcze nie u\u017cy\u0142em zaimka, klucz\u0105c z jasnych powod\u00f3w: okre\u015blenia opisuj\u0105ce niebinarno\u015b\u0107 w tek\u015bcie &#8211; mo\u017ce dlatego, \u017ce w polszczy\u017anie wyst\u0119puj\u0105 w r\u00f3\u017cnych wariantach i wywo\u0142uj\u0105 \u017cywe dyskusje &#8211; ci\u0105gle zwracaj\u0105 zbyt wielk\u0105 uwag\u0119 na form\u0119, odwracaj\u0105c od tre\u015bci. A tu do tanecznego <em>Electric Fish<\/em> znanego ju\u017c z singla dochodzi fantastyczna <em>Dela<\/em> z kr\u00f3tk\u0105, acz efektown\u0105 rapersk\u0105 parti\u0105, kt\u00f3r\u0105 niejaki JOCA wykonuje najwyra\u017aniej na bezdechu, bardzo tradycyjna <em>Coisa Maluca<\/em>, cytowany ju\u017c <em>Boy of Stranger Things<\/em>, mieszanina funku i boogie, <em>Insista em Mim<\/em> o charakterze szlagieru festiwalowego, bardzo retro, a chwil\u0119 p\u00f3\u017aniej stylistyczny dziwol\u0105g <em>Debaixo do Pano<\/em>, z elementami electro, i dyskoteka boogie na ko\u0144cu. Rozmowy o to\u017csamo\u015bci osoby zgubi\u0105 si\u0119 w rozmowie o to\u017csamo\u015bci samej muzyki. A tak\u017ce o tym, \u017ce jest w Brazylii generacja zmieniaj\u0105ca map\u0119 popu i wywracaj\u0105ca stolik skuteczniej ni\u017c pewien polski polityk.\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/p>\n<p><strong>ANA FRANGO EL\u00c9TRICO <em>Me chama de gato que eu sou sua<\/em><\/strong>, Mr Bongo 2023\u00a0<\/p>\n\n\n<iframe style=\"border: 0; width: 100%; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2722732780\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=3417\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/anafrangoeletrico.bandcamp.com\/album\/me-chama-de-gato-que-eu-sou-sua\">Me Chama de Gato Que Eu Sou Sua by Ana Frango El\u00e9trico<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>15.10 <strong>DUOT &amp; ZARM Ensemble (Cirera\/Prats\/Zingaro\/Alves\/Mitzlaf\/Rosso)<\/strong> DUOT with Strings, Fundacja S\u0142uchaj <br \/>15.10 <strong>Ivo Perelman \/ Nate Wooley \/ Mat Maneri \/ Fred Lonberg-Holm \/ Joe Morris \/ Matt Moran<\/strong> Seven Skies Orchestra, Fundacja S\u0142uchaj <br \/>15.10 <strong>Wiktor Stribog<\/strong> Astroenergoterapia Psychosonoryczna, Superkasety <br \/>17.10 <strong>Animations<\/strong> Contemporary Guide to Modern Living <br \/>18.10 <strong>Dasom Baek<\/strong> Mirror City, Metron <br \/>19.10 <strong>Soema Montenegro<\/strong> Circula Radiante, Mais Um <br \/>20.10 <strong>Afterbirth<\/strong> In But Not Of, Willowtip <br \/>20.10 <strong>Ana Frango El\u00e9trico<\/strong> Me Chama de Gato Que Eu Sou Sua, Mr Bongo <br \/>20.10 <strong>ANNA WEBBER with Adam O&#8217;Farrill, Mariel Roberts, Elias Stemeseder and Lesley Mok<\/strong> Shimmer Vince, Intakt <br \/>20.10 <strong>Bex Burch<\/strong> There Is Only Love and Fear, International Anthem <br \/>20.10 <strong>Black to Comm<\/strong> At Zeenath Parallel Heavens, Thrill Jockey <br \/>20.10 <strong>Blink-182<\/strong> &#8230;One More Time, Columbia <br \/>20.10 <strong>Bombay Bicycle Club<\/strong> My Big Day, Mmm&#8230; AWAL <br \/>20.10 <strong>Chris Schiftlett<\/strong> Lost at Sea, Snakefarm <br \/>20.10 <strong>Cirith Ungol<\/strong> Dark Parade, Metal Blade <br \/>20.10 <strong>Cody Pepper<\/strong> Chemical Oasis, Fire <br \/>20.10 <strong>CoH<\/strong> Radiant Faults, Dais <br \/>20.10 <strong>Crime &amp; The City Solution<\/strong> The Killer, Mute <br \/>20.10 <strong>Daria Zawia\u0142ow<\/strong> Dziewczyna Pop, Sony <br \/>20.10 <strong>Dead Times<\/strong> Dead Times, Thrill Jockey <br \/>20.10<strong> Dog Eat Dog<\/strong> Free Radicals, Metalville<br \/>20.10 <strong>Dusk<\/strong> Glass Pastures, Don Giovanni <br \/>20.10 <strong>Dylan LeBlanc<\/strong> Coyote, ATO <br \/>20.10 <strong>Erlend Apneseth Trio &amp; Maja S. K. Ratkje<\/strong> Collage, Hubro <br \/>20.10 <strong>Evian Christ<\/strong> Revanchist, Warp <br \/>20.10 <strong>Forest Swords<\/strong> Bolted, Ninja Tune <br \/>20.10 <strong>Francisco Mela &amp; Jonathan Reisin<\/strong> Earthquake, 577 Records <br \/>20.10 <strong>Get The Blessing<\/strong> Pallet, Jazzfuel <br \/>20.10 <strong>Girma Yifrashewa<\/strong> My Strong Will, Unseen Worlds <br \/>20.10 <strong>Grzegorz Tarwid Trio<\/strong> Flowers, Clean Feed <br \/>20.10 <strong>Hauschka<\/strong> Philanthropy, City Slang <br \/>20.10<strong> Jane Remover<\/strong> Census Deisgnated, DeadAir <br \/>20.10<strong> Joseph Shabason<\/strong> Welcome to Hell, Telephone Explosion <br \/>20.10<strong> Judgitzu Sator<\/strong> Arepo, Nyege Nyege Tapes <br \/>20.10 <strong>Kate Gentile<\/strong> Find Letter X, Pi Recordings <br \/>20.10 <strong>Klein<\/strong> Touched by an Angel <br \/>20.10<strong> Knuckle Puck<\/strong> Losing What We Love, Rise <br \/>20.10<strong> Lee Gamble<\/strong> Models, Hyperdub <br \/>20.10 <strong>Locust<\/strong> The First Cause, Mysteries Of The Deep <br \/>20.10 <strong>Lost Girls<\/strong> Selvutsletter, Smalltown Supersound <br \/>20.10 <strong>Lucia Dlugoszewski \/ Klangforum Wien \/ Johannes Kalitzke \/ Tim Anderson \/ Ilan Volkov \/ Peter Evans<\/strong> Abyss and Caress, Col Legno <br \/>20.10 <strong>Maria BC<\/strong> Spike Field, Sacred Bones <br \/>20.10 <strong>Markus Floats<\/strong> Fourth Album, Constellation <br \/>20.10 <strong>Marta Del Grandi<\/strong> Selva, Fire <br \/>20.10 <strong>Massimo Pupillo<\/strong> Our Forgotten Ancestors, Glacial Movements <br \/>20.10 <strong>Meechy Darko<\/strong> Doses, Loma Vista <br \/>20.10 <strong>Mehmet Aslan<\/strong> Senza Decoro: Liebe + Anarchia \/ Switzerland 1980\u200b-\u200b1990, Strut <br \/>20.10 <strong>Miha Gantar<\/strong> Amsterdam, Clean Feed <br \/>20.10<strong> Mo\u2019 Horizons<\/strong> Mango, Agogo <br \/>20.10 <strong>Myrkur<\/strong> Spine, Relapse <br \/>20.10 <strong>Nat Birchall<\/strong> Songs of the Ancestors (Afro Train Chapter II) <br \/>20.10 <strong>\u0144oko<\/strong> Aurora, Eastrings <br \/>20.10 <strong>Ozric Tentacles<\/strong> Lotus Unfolding, Kscope <br \/>20.10 <strong>Pink Navel &amp; Kenny Segal<\/strong> How to Capture Playful, Ruby Yacht <br \/>20.10 <strong>Pip Blom<\/strong> Bobbie, Heavenly <br \/>20.10 <strong>Poly Chain<\/strong> SMART-155, Mechatronica <br \/>20.10 <strong>Ra\u00fcl Refree &amp; Pedro Vian<\/strong> Font de la Vera Paul Modern, Obscure Music <br \/>20.10 <strong>Reverend Kristin Michael Hayter<\/strong> Saved!, Lingua Ignota <br \/>20.10<strong> Robbie Robertson<\/strong> Killers of the Flower Moon OST, Masterworks <br \/>20.10 <strong>Sainth Abdullah &amp; Eomac<\/strong> Chasing Stateless, Planet Mu <br \/>20.10 <strong>Sampha<\/strong> Lahai, Young <br \/>20.10<strong> Sarah Terral<\/strong> Le Morfil, Three: four <br \/>20.10 <strong>Sondre Lerche<\/strong> Understudy <br \/>20.10 <strong>Sonorismo<\/strong> Personal Voice <br \/>20.10 <strong>Sparkle Division<\/strong> Foxy, Taporary Residence Ltd <br \/>20.10 <strong>Spi\u0119ty<\/strong> Heartcore, Mystic <br \/>20.10 <strong>Sylvie Courvoisier<\/strong> Chimaera, Intakt <br \/>20.10 <strong>T&#8217;ien Lai<\/strong> Natury 02, Brutality Garden <br \/>20.10 <strong>Teenage Halloween<\/strong> Till You Return, Don Giovanni <br \/>20.10 <strong>THE BRIDGE &#8211; Rodrigo Amado \/ Alexander von Schlippenbach \/ Ingebrigt Haker Flaten \/ Gerry Hemingway<\/strong> Beyond the Margins, Trost <br \/>20.10 <strong>The Callous Daoboys<\/strong> God Smiles Upon The Callous Daoboys, MNRK EP<br \/>20.10 <strong>The Rolling Stones<\/strong> Hackney Diamonds, EMI <br \/>20.10<strong> Tim Hill<\/strong> Shades of Green, Innovative Leisure <br \/>20.10 <strong>Titanic<\/strong> Vidrio, TAR \/ MM \/ UOH <br \/>20.10 <strong>Tristan Allen<\/strong> The Iso and the Dawn, RVNG Intl <br \/>20.10 <strong>Walu\u015bKraksaKryzys<\/strong> +piek\u0142o+niebo+, Mystic<br \/>20.10 <strong>Within Temptation<\/strong> Bleed Out, Force Music<\/p>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>W tym tygodniu, do\u015b\u0107 mocnym w muzyce \u015brodka, postaram si\u0119 zbytnio nie powtarza\u0107. The Rolling Stones na pierwszej p\u0142ycie z autorskim repertuarem od 18 lat brzmi\u0105 najlepiej od 42 lat, ale o tym opowiadam w POLITYCE. Daria Zawia\u0142ow, kt\u00f3rej Helsinki kiedy\u015b tu opisywa\u0142em, wyda\u0142a w\u0142a\u015bnie najlepszy album w karierze, ale ten prze\u0142om omawiamy w podka\u015bcie, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":40389,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,444,3309,4009,3666,7,5601,106],"tags":[5756],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/40381"}],"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=40381"}],"version-history":[{"count":10,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/40381\/revisions"}],"predecessor-version":[{"id":40393,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/40381\/revisions\/40393"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/40389"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=40381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=40381"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=40381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}