{"id":41578,"date":"2024-01-26T09:27:28","date_gmt":"2024-01-26T08:27:28","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=41578"},"modified":"2024-01-26T09:27:30","modified_gmt":"2024-01-26T08:27:30","slug":"glowy-z-glowa","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2024\/01\/26\/glowy-z-glowa\/","title":{"rendered":"G\u0142owy z g\u0142ow\u0105"},"content":{"rendered":"<p>Mia\u0142em zastrze\u017cenia do pierwszej p\u0142yty <strong>The Smile<\/strong>, ale idea formacji, kt\u00f3ra skupia si\u0142\u0119 kreatywn\u0105 Radiohead &#8211; dwie najt\u0119\u017csze pod tym wzgl\u0119dem g\u0142owy zespo\u0142u &#8211; bardzo mi si\u0119 podoba\u0142a. Szczeg\u00f3lnie \u017ce frontman formacji (Thom Yorke) i najbardziej wszechstronny muzyk i kompozytor na \u0142onie grupy (Jonny Greenwood) zatrudnili lepszego ni\u017c dot\u0105d perkusist\u0119 (Tom Skinner). Budowali wi\u0119c na nowo z tego, co najlepsze, unikaj\u0105c s\u0142abszych punkt\u00f3w. <em>Wall of Eyes<\/em> pokazuje, \u017ce projekt da\u0142o si\u0119 udoskonali\u0107. Sam Petts-Davies wypada bowiem ciekawiej w roli producenta ni\u017c wieloletni wsp\u00f3\u0142pracownik Radiohead, czyli Nigel Godrich. Nadaje ca\u0142o\u015bci bardziej sp\u00f3jny charakter &#8211; cho\u0107 by\u0107 mo\u017ce to pomys\u0142y muzyk\u00f3w okazuj\u0105 si\u0119 bardziej skoncentrowane, buduj\u0105 konsekwentnie now\u0105 wizj\u0119 art rocka, z dwiema kulminacjami w postaci d\u0142u\u017cszych form. Pierwsz\u0105 jest <em>Under Our Pillows<\/em> &#8211; oparte na nerwowym motywie rodem z King Crimson, kreuj\u0105ce atmosfer\u0119 suity rockowej zszytej z nieco innych ni\u017c zazwyczaj element\u00f3w, z efektownym, psychodelicznym fina\u0142em. Drugim oczywi\u015bcie znany ju\u017c od dawna, wspania\u0142y utw\u00f3r <em>Bending Hectic<\/em>, kt\u00f3rego glissanda przechodz\u0105ce w mocne wej\u015bcie gitarowego riffu wydaj\u0105 si\u0119 wizyt\u00f3wk\u0105 dla umiej\u0119tno\u015bci Greenwooda &#8211; cz\u0142owieka, kt\u00f3rego g\u0142\u00f3wn\u0105 si\u0142\u0105 jest nie bycie najlepszym w ka\u017cdej muzycznej sferze, ale \u0142\u0105czenie w sobie wielu sfer na takim poziomie, by je zr\u0119cznie skleja\u0107. Od dubu do krautrocka i od rockowej estetyki do pracy z obecn\u0105 tu London Contemporary Orchestra tylko krok.\u00a0<\/p>\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/WhivN4GJQCQ?si=c1Hd5zwLpaWZVRct\" 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>W 45-minutowym programie nowej p\u0142yty dzieje si\u0119 jednak nieco wi\u0119cej, dzi\u0119ki czemu b\u0119dzie to te\u017c &#8211; mam wra\u017cenie &#8211; album lepiej zaspokajaj\u0105cy potrzeby s\u0142uchaczy Radiohead. Cho\u0107by dzi\u0119ki <em>Friend of a Friend<\/em>, kt\u00f3ry w charakterystyczn\u0105 dla tamtej formacji progresj\u0119 akordow\u0105 wchodzi w l\u017cejszy, niemal Beatlesowski (albo Floydowski we wczesnej wersji) spos\u00f3b. Mo\u017ce to kwestia rytmiki &#8211; a \u015bwietne partie b\u0119bn\u00f3w s\u0105 istotne przecie\u017c tak\u017ce dla <em>Read the Room<\/em>, czy wreszcie <em>Teleharmonic<\/em> &#8211; naj\u0142adniejszej piosenki na p\u0142ycie, pod\u0105\u017caj\u0105cej w linii melodycznej w rejony niemal popowe, ale wspartej nieoczywist\u0105 aran\u017cacj\u0105. Produkcja nie gubi szczeg\u00f3\u0142\u00f3w ani dynamiki, nie ogranicza, wydaje si\u0119 bardziej przezroczystym czynnikiem ni\u017c w wypadku pracy z Godrichem. A mo\u017ce chodzi\u0142o po prostu o od\u015bwie\u017cenie? Jasne, nie jest to p\u0142yta idealna, trudno po tylu latach o \u015bwie\u017co\u015b\u0107 zwi\u0105zan\u0105 z odkrywaniem nowego. Czu\u0107 tu zreszt\u0105 pewne przyzwyczajenia i ograniczenia, mo\u017ce nawet koleiny autorskie, ale jest te\u017c wola walki z nimi. I mam wra\u017cenie, \u017ce The Smile to w tej chwili najlepsze, co mo\u017ce mie\u0107 nam do zaoferowania Radiohead.\u00a0<\/p>\n<p><strong>THE SMILE <em>Wall of Eyes<\/em><\/strong>, XL Recordings 2024\u00a0<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2425829138\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/thesmile.bandcamp.com\/album\/wall-of-eyes\">Wall Of Eyes by The Smile<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE DW\u00d3CH TYGODNI\u00a0<\/strong><br \/>(bo tydzie\u0144 temu nie by\u0142o)<\/p>\n<p>13.01 <strong>Horacio Vaggione<\/strong> \u2018Schall\u2019 \/ \u2018Rechant\u2019, Recollection GRM <br \/>13.01 <strong>Slow&#8217;Mo<\/strong> Archiwum, 33 Records EP<br \/>13.01 <strong>Tiago Sousa<\/strong> Organic Music Tapes vol 2 <br \/>14.01 <strong>Begu<\/strong> Frozen, Father and Son Records &amp; Tapes <br \/>15.01 <strong>Alex Deforce &amp; Charlotte Jacobs<\/strong> Kwart Voor Straks, Stroom.TV <br \/>15.01 <strong>Amos Lora<\/strong> Dadgad, MoonJune <br \/>16.01 <strong>Mining<\/strong> Chimet, The Leaf Label <br \/>19.01 <strong>90 Day Men<\/strong> We Blame Chicago, Numero Group <br \/>19.01 <strong>Atom String Quartet<\/strong> Universum, Warner Classics <br \/>19.01<strong> Bolts Of Melody<\/strong> Film Noir <br \/>19.01 <strong>Cold In Berlin<\/strong> The Body is the Wound, EP<br \/>19.01 <strong>Conch\u00far White<\/strong> Swirling Violets, Bella Union <br \/>19.01 <strong>Cowboy Sadness<\/strong> Selected Jambient Works vol. 1, People Teeth <br \/>19.01 <strong>Dancefloor Classics (Vladislav Delay)<\/strong> Dancefloor Classics vol. 1-5, Rajaton <br \/>19.01 <strong>Delasi<\/strong> Audacity of Free Thought, Brownswood <br \/>19.01<strong> Don Melody Club<\/strong> Zonder Pardon, Les Disques Bongo Joe <br \/>19.01<strong> Donato Dozzy<\/strong> Magda, Spazio Disponibile <br \/>19.01 <strong>Exploding Star Orchestra\/Small Unit<\/strong> Spectral Fiction, Corbett vs. Dempsey <br \/>19.01 <strong>Filmmaker<\/strong> Land of Hidden Variables, Opal Tapes <br \/>19.01 <strong>Funken, Chergui et Hateau<\/strong> Daniel dans la nuit, Unjenesaisquoi <br \/>19.01 <strong>Green Day<\/strong> Saviors, Reprise <br \/>19.01 <strong>Gush<\/strong> Afro Blue, Trost <br \/>19.01 <strong>Ian Mikyska &amp; Fredrik Rasten<\/strong> Music for Sixth\u200b-\u200btone Harmonium, Warm Winters Ltd. <br \/>19.01 <strong>John Zorn<\/strong> The Hermetic Organ Volume 11 &#8211; For Terry Riley, Tzadik <br \/>19.01 <strong>Josef Pankiewicz<\/strong> Ritual of Colors <br \/>19.01 <strong>Jozef van Wissem<\/strong> The Night Dwells in the Day, Incunabulum <br \/>19.01 <strong>Keiji Haino, Jim O&#8217;Rourke &amp; Oren Ambarchi<\/strong> \u3044\u3044\u3053\u3044\u3044\u3053\u304c\u305f\u3064\u305f\u4e00\u3064\u3060\u3051\u8db3\u308a\u306a\u3044\u3068\u60aa\u3000\u305f\u3064\u305f\u4e00\u3064\u3060\u3051\u591a\u3068\u5584\u3000\u305d\u3093\u306a\u3082\u3093\u3055 (With pats on the head, just one too few is evil one too many is good that&#8217;s all it is), Black Truffle <br \/>19.01 <strong>Keyon Harold<\/strong> Foreverland, Concord Jazz <br \/>19.01 <strong>Mary Halvorson<\/strong> Cloudward, Nonesuch <br \/>19.01 <strong>Nailah Hunter<\/strong> Lovegaze, Fat Possum <br \/>19.01 <strong>Ohr, Cofaxx<\/strong> What It Seems <br \/>19.01 <strong>Oren Ambarchi<\/strong> With pats on the head, just one too few is evil one too many is good that&#8217;s all it is, Black Truffle <br \/>19.01 <strong>Pawbeats<\/strong> Dzienna <br \/>19.01 <strong>Roma Zuckerman<\/strong> Phenomenon of Provincial Mentality, Gost Zvuk <br \/>19.01 <strong>Scanner<\/strong> Alchemeia <br \/>19.01 <strong>SIMON SPIESS QUIET TREE with Marc M\u00e9an and Jonas Ruther<\/strong> Euphorbia, Intakt <br \/>19.01 <strong>Sleater-Kinney<\/strong> Little Rope, Loma Vista <br \/>19.01 <strong>Slift<\/strong> Ilion, Sub Pop <br \/>19.01 <strong>SUNNY FIVE Tim Berne \u2013 David Torn \u2013 Ches Smith \u2013 Devin Hoff \u2013 Marc Ducret<\/strong> Candid, Intakt <br \/>19.01 <strong>Tatu &amp; Tutkimusmatkailijat<\/strong> Vasta alkusoittoa, Eclipse <br \/>19.01 <strong>The Fauns<\/strong> How Lost, Invada <br \/>19.01 <strong>UKAEA<\/strong> Birds Catching Fire in the Sky, The State51 Conspiracy <br \/>19.01 <strong>Vladislav Delay<\/strong> Hide Behind The Silence EP 5 <br \/>19.01 <strong>Wra\u017colot<\/strong> Przemiana materii <br \/>19.01<strong> Y\u012aN Y\u012aN<\/strong> Mount Matsu, Glitterbeat <br \/>23.01 <strong>Apu Nanu<\/strong> The Untold Saga, BFF Music <br \/>24.01 <strong>Coaltar of the Deepers \/ Boris<\/strong> Hello There, U-desper <br \/>24.01<strong> Eye Fly<\/strong>s Eye Flys, Thrill Jockey <br \/>24.01 <strong>Michael Wollny &amp; Joachim K\u00fchn<\/strong> Duo, ACT <br \/>26.01 <strong>Abdullah Ibrahim<\/strong> &#8222;3&#8221;, Gearbox <br \/>26.01<strong> Agust\u00edn Pereyra Lucena<\/strong> Agust\u00edn Pereyra Lucena, Far Out <br \/>26.01 <strong>Angry Blackmen<\/strong> The Legend of ABM, Deathbomb Arc <br \/>26.01 <strong>Anna Calvi<\/strong> Peaky Blinders: Season 5 OST, Domino <br \/>26.01 <strong>Anna Calvi &amp; Nick Launay<\/strong> Peaky Blinders: Season 6 OST, Domino <br \/>26.01 <strong>Antistatic<\/strong> Relics, Cuneiform <br \/>26.01 <strong>Astrid Sonne<\/strong> Great Doubt, Escho <br \/>26.01 <strong>Batushka<\/strong> \u0427\u200b\u0415\u200b\u0420\u200b\u041d\u200b\u042b\u200b\u0415 \u0420\u200b\u0418\u200b\u0422\u200b\u0423\u200b\u0410\u200b\u041b\u200b\u042b \/ BLACK RITUALS, Witching Hour <br \/>26.01 <strong>Benny The Butcher<\/strong> Everybody Can\u2019t Go, Def Jam <br \/>26.01 <strong>Botanica<\/strong> Evig <br \/>26.01<strong> Brion Gysin<\/strong> Junk, Wewantsounds <br \/>26.01 <strong>Br\u00f6tzmann \/ Nilssen-Love<\/strong> Chickenshit Bingo, Trost <br \/>26.01 <strong>Brunhild Meyer-Ferrari<\/strong> Ext\u00e9rieur-Jour <br \/>26.01<strong> Crimeapple &amp; Preservation<\/strong> El Le\u00f3n, Mon Dieu <br \/>26.01 <strong>David Wallraf<\/strong> The Commune of Nightmares, Karlrecords <br \/>26.01<strong> Dead Poet Society<\/strong> Fission, Spinefarm <br \/>26.01<strong> Elena Setien<\/strong> Moonlit Reveries, Thrill Jockey <br \/>26.01 <strong>Emilia Tuovila &amp; V\u00e4ijytys<\/strong> T\u200b\u00e4\u200bs on sulle, Eclipse <br \/>26.01 <strong>Fabiano do Nascimento &amp; Sam Gendel<\/strong> The Room, Real World <br \/>26.01 <strong>Fifidroki<\/strong> Figura dziks, Gusstaff\/Don&#8217;t Sit On My Vinyl <br \/>26.01 <strong>Future Islands<\/strong> People Who Aren&#8217;t There Anymor, 4AD <br \/>26.01<strong> Gary Clark jr.<\/strong> JPEG RAW Sampler, EP<br \/>26.01 <strong>Gruff Rhys<\/strong> Sadness Sets Me Free, Rough Trade <br \/>26.01<strong> James Arthur<\/strong> Bitter Sweet Love, Columbia <br \/>26.01 <strong>Jan Jelinek &amp; Arthur Clees<\/strong> Live in Luxembourg, December 3rd 2021, Faitiche <br \/>26.01 <strong>Katy Kirby<\/strong> Blue Raspberry, Anti- <br \/>26.01 <strong>Leslee Smucker<\/strong> Breathing Landscape, Beacon Sound <br \/>26.01 <strong>Lumpeks<\/strong> Polonez, Umlaut <br \/>26.01 <strong>Manticora<\/strong> Mycelium, Mighty Music <br \/>26.01 <strong>Mayuko<\/strong> Songs To Whistle When Strolling Along The Abyss <br \/>26.01 <strong>Me\u0142ech\/Kurek<\/strong> Walk Through, Gusstaff\/Don&#8217;t Sit On My Vinyl <br \/>26.01<strong> Mike Cooper &amp; Pierre Bastien<\/strong> Aquapelagos Vol\u200b\u200b\u200b.\u200b\u200b\u200b2: \u00cdndico, Discrepant <br \/>26.01 <strong>Nehan<\/strong> An Evening with Nehan, Drag City <br \/>26.01 <strong>New Model Army<\/strong> Unbroken <br \/>26.01 <strong>Office Dog<\/strong> Spiel, New West <br \/>26.01 <strong>Or Best Offer<\/strong> Center, Ba Da Bing <br \/>26.01 <strong>R.A.P. Ferreira &amp; Fumitake Tamura<\/strong> The First Fist to Make Contact When We Dap, Alpha Pup <br \/>26.01 <strong>Rahsaan Roland Kirk<\/strong> Live in Paris (1970), Transversales arch<br \/>26.01 <strong>Saramaccan Sound (Suriname)<\/strong> Where The River Bends Is Only The Beginning, Glitterbeat <br \/>26.01 <strong>Sivert H\u00f8yem<\/strong> On An Island, Hektor <br \/>26.01 <strong>Tapir!<\/strong> The Pilgrim, Their God and The King Of My Decrepit Mountain, Heavenly <br \/>26.01<strong> The Smile<\/strong> Wall of Eyes, XL <br \/>26.01 <strong>They Hate Change<\/strong> Wish You Were Here\u200b.\u200b.\u200b., Jagjaguwar <br \/>26.01 <strong>Torres<\/strong> What an Enormous Room, Merge <br \/>26.01 <strong>TR\/ST<\/strong> TR\/ST, Dais EP<br \/>26.01 <strong>Ty Segall<\/strong> Three Balls, Drag City <br \/>26.01<strong> Yussef Dayes<\/strong> Live from Malibu, Brownswood<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>","protected":false},"excerpt":{"rendered":"<p>Mia\u0142em zastrze\u017cenia do pierwszej p\u0142yty The Smile, ale idea formacji, kt\u00f3ra skupia si\u0142\u0119 kreatywn\u0105 Radiohead &#8211; dwie najt\u0119\u017csze pod tym wzgl\u0119dem g\u0142owy zespo\u0142u &#8211; bardzo mi si\u0119 podoba\u0142a. Szczeg\u00f3lnie \u017ce frontman formacji (Thom Yorke) i najbardziej wszechstronny muzyk i kompozytor na \u0142onie grupy (Jonny Greenwood) zatrudnili lepszego ni\u017c dot\u0105d perkusist\u0119 (Tom Skinner). Budowali wi\u0119c na [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":41579,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,3681,312,120,3319,444,3309,4009,4993,7,5785],"tags":[962,5235,1255,5786],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/41578"}],"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=41578"}],"version-history":[{"count":6,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/41578\/revisions"}],"predecessor-version":[{"id":41585,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/41578\/revisions\/41585"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/41579"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=41578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=41578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=41578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}