{"id":42990,"date":"2024-04-26T09:08:07","date_gmt":"2024-04-26T07:08:07","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=42990"},"modified":"2024-04-26T16:34:02","modified_gmt":"2024-04-26T14:34:02","slug":"gimnastyka-na-stykach","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2024\/04\/26\/gimnastyka-na-stykach\/","title":{"rendered":"Gimnastyka na stykach"},"content":{"rendered":"<p>By\u0142 sobie braindance. Taki nurt muzyki lat 90., w my\u015bl kt\u00f3rego brzmienia techno z tanecznych przechodzi\u0142y w pulsuj\u0105ce, g\u0119ste rusztowania melodii i oploty rytm\u00f3w. By\u0142 to synonim IDM-u, co oznacza\u0142o &#8211; w my\u015bl stereotypu, rzecz jasna &#8211; muzyk\u0119 dla jajog\u0142owych, kt\u00f3rzy na imprezy taneczne przychodzili bardziej pos\u0142ucha\u0107, a je\u015bli ju\u017c ta\u0144czyli, to we w\u0142asnej g\u0142owie. P\u0142yta <em>Beyond Echo of Time<\/em> <strong>Piernikowskiego<\/strong> jest w\u0142a\u015bnie czym\u015b takim. Tyle \u017ce nie dla techno czy jungle, ale dla dubstepu i pochodnych, czyli wsp\u00f3\u0142czesnej muzyki basowej. Niby ci\u0105gle taneczna &#8211; s\u0105 nawet w strukturze ca\u0142o\u015bci elementy charakterystyczne dla setu did\u017cejskiego, kt\u00f3ry opisuj\u0105 najlepiej dwa s\u0142ynne tryby aktorstwa Romana Wilhelmiego (znane z notatek na kartkach tekstu):<em> p<\/em> lub <em>o<\/em>. Czyli <em>odpu\u015bci\u0107<\/em> lub <em>przypier&#8230;li\u0107<\/em>. Przede wszystkim jest tu jednak p\u0142ynno\u015b\u0107 setu. To, co nagra\u0142 by\u0142y muzyk Syn\u00f3w, jest kalejdoskopowym tripem, prowadz\u0105cym nas od pocz\u0105tku do ko\u0144ca bez przystank\u00f3w. A zatem lot. Przez wszystkie kombinacje i permutacje motyw\u00f3w, z pe\u0142nym wykorzystaniem tego, co daj\u0105 do dyspozycji wsp\u00f3\u0142czesne narz\u0119dzia do produkcji muzyki. S\u0142uchanie tego na wyrywki (<em>Traces of Passage<\/em> i <em>Sister<\/em>, dost\u0119pne ju\u017c wcze\u015bniej) nie robi takiego wra\u017cenia jak ca\u0142o\u015b\u0107.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<\/p>\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/3qgKnDmLCJE?si=jDkxP8obJjTyRREC\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"><\/iframe>\n\n\n<p>Tak jak poprzednio Piernikowski si\u0119ga po pomoc zewn\u0119trzn\u0105 &#8211; w singlowym <em>Sister<\/em> mieli\u015bmy jego wsp\u00f3\u0142prac\u0119 z Jackiem Sienkiewiczem, w wyr\u00f3\u017cniaj\u0105cym si\u0119 Need for Guilt pojawia si\u0119 Justyna \u015awi\u0119s i nazwa\u0107 t\u0119 obecno\u015b\u0107 nienachaln\u0105 to ma\u0142o &#8211; to prawie jak obecno\u015b\u0107 duchowa. Nieco mocniejszy \u015blad w <em>Seek Forest for Guidance<\/em> zostawi\u0142a swoj\u0105 parti\u0105 wokaln\u0105 Antonina Nowacka, kt\u00f3ra pozwala autorowi zwr\u00f3ci\u0107 si\u0119 &#8211; to jeden z kilku drobnych gest\u00f3w na tej p\u0142ycie &#8211; ku muzyce dawnej. Wyczuty i nieprzesadzony jak wszystko na tej p\u0142ycie.&nbsp;<\/p>\n<p>Najwa\u017cniejszy jest jednak w\u0142asny flow melodyczny &#8211; pokazowym elementem jest ten motyw oparty jakby na brzmieniu starej gry komputerowej, kt\u00f3ry Piernikowski buduje w utworze <em>Alamut<\/em> &#8211; nie powstydzi\u0142by si\u0119 takiego komponowania Squarepusher, wybitny melodysta \u015bwiata elektroniki. Roboczogodziny sp\u0119dzone nad tym materia\u0142em wyra\u017anie przek\u0142adaj\u0105 si\u0119 na jego p\u0142ynno\u015b\u0107. A po sp\u0119dzeniu z nim ostatnich kilku dni mog\u0119 potwierdzi\u0107, \u017ce raz w\u0142\u0105czone, trudno<span style=\"font-size: inherit;\"> przerwa\u0107. Nie twierdz\u0119, \u017ce to jedyne, czego nale\u017cy w tym tygodniu s\u0142ucha\u0107 &#8211; ciekawych premier jest zn\u00f3w niema\u0142o. Ale to najlepsza p\u0142yta w solowej dyskografii Piernikowskiego. I kto wie, by\u0107 mo\u017ce n<\/span>ajwa\u017cniejsza premiera tego pi\u0105tku ukaza\u0142a si\u0119 ju\u017c w czwartek.&nbsp;<\/p>\n<p><strong>PIERNIKOWSKI <em>Beyond Echo of Time<\/em><\/strong>, Piernikowski 2024&nbsp;&nbsp;<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2433243599\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless=\"\"><a href=\"https:\/\/robertpiernikowski.bandcamp.com\/album\/beyond-echo-of-time\">Beyond Echo of Time by Piernikowski<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>20.04<strong> Fleet Foxes<\/strong> Live on Boston Harbour, Anti- RSD<br \/>20.04<strong> RG Rough &amp; Richard Pinha<\/strong>s End of the Line, Bam Balam <br \/>20.04 <strong>Sparks \/ No\u00ebl<\/strong> No. 1 in Heaven \/ Is There More To Life Than Dancing?, Lil\u2019 Beethoven RSD<br \/>20.04 <strong>Steven Wilson<\/strong> Harmonic Divergence, Spinefarm RSD<br \/>20.04 <strong>The Residents<\/strong> Leftovers Again!? Again!?!?!, Cherry Red RSD<br \/>20.04 <strong>VA<\/strong> The Power of the Heart: A Tribute to Lou Reed, Light in the Attic <br \/>20.04 <strong>VA<\/strong> Pale Shades Of Grey: Heavy Psychedelic Ballads and Dirges 1969\u200b-\u200b1976, Now-Again <br \/>23.04 <strong>Contours<\/strong> Elevations, Music From Memory<br \/>23.04 <strong>Kr\u00f3l\u00f3wczana Smuga<\/strong> Konwulsanki, Zoharum<br \/>23.04<strong> Z\u0142e Oko<\/strong> Xenos, Zoharum <br \/>24.04 <strong>Francisco Mela featuring Leo Genovese and William Parker<\/strong> Music Frees Our Souls, vol. 3, 577 Records <br \/>24.04 <strong>Francisco Mela, Shinya Lin<\/strong> Motions vol. 2, 577 Records <br \/>25.04 <strong>Pianohooligan<\/strong> Critique of Swing in Two Parts, Decca <br \/>25.04 <strong>Piernikowski<\/strong> Beyond Echo of Time, Piernikowski <br \/>26.04 <strong>Angles &amp; Elle-Kari with Strings<\/strong> The Death of Kalypso, Thanatosis <br \/>26.04 <strong>Anitta<\/strong> Funk Generation, Republic <br \/>26.04 <strong>Anycia<\/strong> Princess Pop That, United Masters <br \/>26.04 <strong>Arild Andersen \/ Daniel Sommer \/ Rob Luft<\/strong> As Time Passes, April Artwork <br \/>26.04 <strong>Art Tatum<\/strong> Jewels in the Treasure Box, Resonance arch<br \/>26.04 <strong>Aura Safari \u2022 Jimi Tenor<\/strong> Sensory Blending, Hell Yeah <br \/>26.04 <strong>Bullion<\/strong> Affection, Ghostly <br \/>26.04 <strong>Carlos Giffoni<\/strong> Dream Walker, Ideologic Organ <br \/>26.04 <strong>Catherine Graindorge<\/strong> Songs for the Dead, Glitterbeat <br \/>26.04 <strong>C\u00e9u<\/strong> Novela, Urban Jungle <br \/>26.04 <strong>Cyril Cyril<\/strong> Le Futur \u00c7a Marche Pas, Les Disques Bongo Joe <br \/>26.04 <strong>Fat White Family<\/strong> Forgiveness Is Yours, Domino <br \/>26.04 <strong>Full Of Hell<\/strong> Coagulated Bliss, Closed Casket Activities <br \/>26.04 <strong>Greg Saunier<\/strong> We Sang, Therefore We Were, Joyful Noise <br \/>26.04 <strong>Herandu<\/strong> Ocher Red, Hive Mind <br \/>26.04 <strong>Hinode Tapes<\/strong> Kiki Mori, Instant Classic <br \/>26.04 <strong>Hovvdy<\/strong> Hovvdy, Arts &amp; Crafts<br \/>26.04 <strong>Howie Lee<\/strong> At The Drolma Wesel\u200b-\u200bLing Monastery, Mais Um <br \/>26.04 <strong>Irnini Mons<\/strong> Une habitante touch\u200b\u00e9\u200be par une m\u200b\u00e9\u200bt\u200b\u00e9\u200borite, Dur &amp; Doux <br \/>26.04<strong> Iron &amp; Wine<\/strong> Light Verse, Sub Pop <br \/>26.04 <strong>Justice<\/strong> Hyperdrama, Ed Banger<br \/>26.04 <strong>Lainie Fefferman<\/strong> Here I Am, New Focus <br \/>26.04 <strong>Lanark Artefax<\/strong>\u00a0Metallur <br \/>26.04 <strong>Laufey<\/strong> Bewitched: The Goddess Edition, AWAL <br \/>26.04 <strong>Lawrence Rothman<\/strong> The Plow That Broke the Plains, KRO <br \/>26.04 <strong>Leaving<\/strong> Hidden View, Moon Glyph <br \/>26.04 <strong>Leo Genovese, John Lockwood, Nat Mugavero<\/strong> The Art of Not Playing, 577 Records <br \/>26.04 <strong>Loren Kramar<\/strong> Glovemaker, Secretly Canadian <br \/>26.04 <strong>Ludwig A.F.<\/strong> Halo, Ghostly <br \/>26.04 <strong>LustSickPuppy<\/strong> Carousel From Hell <br \/>26.04 <strong>Mal Waldron &amp; Steve Lacy<\/strong> Mal Waldron &amp; Steve Lacy: The Mighty Warriors Live in Antwerp, Elemental <br \/>26.04 <strong>Margaret<\/strong> Siniaki i cekiny, Universal <br \/>26.04 <strong>Maria Chiara<\/strong> <strong>Argir\u00f2<\/strong> Closer, Innovative Leisure <br \/>26.04 <strong>Neil Young &amp; Crazy Horse<\/strong> Fu##in\u2019 Up, Reprise <br \/>26.04 <strong>Oren Ambarchi \/ Johan Berthling \/ Andreas Werliin<\/strong> Ghosted II, Drag City <br \/>26.04 <strong>PartyNextDoor<\/strong> PartyNextDoor Four, OVO<br \/>26.04 <strong>Pet Shop Boys<\/strong> Nonetheless, Warner <br \/>26.04 <strong>Peter Hammill<\/strong> Been Alone So Long: The Naked Songs &#8211; Tour, Bremen 1985, Made In Germany <br \/>26.04 <strong>Pola Chobot &amp; Adam Baran<\/strong> Burza, Fonobo <br \/>26.04 <strong>Sega Bodega<\/strong> Dennis <br \/>26.04 <strong>Shit and Shine<\/strong> You Were Very High, Rocket <br \/>26.04<strong> Six Organs of Admittance<\/strong> Time Is Glass, Drag City <br \/>26.04 <strong>S\u0142o\u0144 Zero<\/strong> absolutne EP <br \/>26.04 <strong>St. Vincent<\/strong> All Born Screaming, Virgin <br \/>26.04 <strong>The Yass Big Band<\/strong> inMATHEMatic, GSJD <br \/>26.04 <strong>Thom Yorke<\/strong> Confidenza OST, XL <br \/>26.04 <strong>Tomeka Reid Quartet<\/strong> 3+3, Cuneiform <br \/>26.04 <strong>Trent Reznor &amp; Atticus Ross<\/strong> Challengers OST <br \/>26.04 <strong>Tuleje<\/strong> Puste ulice, Gusstaff \/ Don&#8217;t Sit On My Vinyl CD \/ LP<br \/>26.04 <strong>VA<\/strong> Prah, Warm Winters Ltd. <br \/>26.04<strong> Wukir Suryadi<\/strong> Siklus dan Doa, Discrepant fsdfs<\/p>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>By\u0142 sobie braindance. Taki nurt muzyki lat 90., w my\u015bl kt\u00f3rego brzmienia techno z tanecznych przechodzi\u0142y w pulsuj\u0105ce, g\u0119ste rusztowania melodii i oploty rytm\u00f3w. By\u0142 to synonim IDM-u, co oznacza\u0142o &#8211; w my\u015bl stereotypu, rzecz jasna &#8211; muzyk\u0119 dla jajog\u0142owych, kt\u00f3rzy na imprezy taneczne przychodzili bardziej pos\u0142ucha\u0107, a je\u015bli ju\u017c ta\u0144czyli, to we w\u0142asnej g\u0142owie. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":42996,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,3309,4009,4993,7,5785,1139,106],"tags":[2826],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/42990"}],"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=42990"}],"version-history":[{"count":12,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/42990\/revisions"}],"predecessor-version":[{"id":43007,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/42990\/revisions\/43007"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/42996"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=42990"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=42990"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=42990"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}