{"id":45034,"date":"2024-11-01T11:48:04","date_gmt":"2024-11-01T10:48:04","guid":{"rendered":"https:\/\/polifonia.blog.polityka.pl\/?p=45034"},"modified":"2024-11-01T13:48:11","modified_gmt":"2024-11-01T12:48:11","slug":"weselsze-niz-the-cure","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2024\/11\/01\/weselsze-niz-the-cure\/","title":{"rendered":"Weselsze ni\u017c The Cure"},"content":{"rendered":"<p>Nagra\u0107 co\u015b weselszego ni\u017c The Cure (o nowej p\u0142ycie <a href=\"https:\/\/www.polityka.pl\/tygodnikpolityka\/kultura\/muzyka\/2276111,1,recenzja-plyty-the-cure-songs-of-a-lost-world.read\">pisa\u0142em w POLITYCE<\/a>, wi\u0119c tutaj skr\u00f3towo: jeszcze smutniejsza i bli\u017csza <em>Disintegration<\/em> ni\u017c si\u0119 zapowiada\u0142o) to nie jest oczywi\u015bcie wielkie osi\u0105gni\u0119cie. Ale w dniu wspominania zmar\u0142ych, kiedy w radiach graj\u0105 nie\u017cyj\u0105cych artyst\u00f3w, krzepi\u0105c\u0105 wiadomo\u015bci\u0105 jest ju\u017c samo to, \u017ce bohater tego wpisu \u017cyje. <strong>Haruomi Hosono<\/strong> ma 77 lat i po tym, jak odmeldowali si\u0119 do wieczno\u015bci panowie Takahashi i Sakamoto, jest jedynym pozosta\u0142ym cz\u0142onkiem sk\u0142adu Yellow Magic Orchestra, czyli &#8211; w du\u017cym uproszczeniu &#8211; odpowiednika Kraftwerk z drugiej strony globu. Wk\u0142ad w kompozycje tej formacji mia\u0142a oczywi\u015bcie ca\u0142a tr\u00f3jka, przy czym inicjatywa przy zak\u0142adaniu YMO by\u0142a po stronie Hosono. Ten mia\u0142 ju\u017c na koncie solow\u0105 karier\u0119, kt\u00f3rej pocz\u0105tkiem by\u0142 wydany w 1974 r. album <em>Hosono House<\/em>. I w\u0142a\u015bnie ukaza\u0142 si\u0119 ho\u0142d dla tej p\u0142yty, z\u0142o\u017cony przez artyst\u00f3w m\u0142odszego pokolenia skupionych wok\u00f3\u0142 wytw\u00f3rni Stones Throw.\u00a0 \u00a0 \u00a0<\/p>\n\n\n<!--more-->\n\n\n<p>Dla mnie to dzi\u015b &#8211; poza The Cure czy p\u0142yt\u0105 J Spacemana z Johnem Coxonem, a tak\u017ce coverowym albumem Williego Nelsona &#8211; wyb\u00f3r do\u015b\u0107 oczywisty. Cz\u0119\u015b\u0107 z tych wykona\u0144 mo\u017cna by\u0142o us\u0142ysze\u0107 na cotygodniowych playlistach Polifonii &#8211; utwory Johna Carrolla Kirby&#8217;ego, Corneliusa, Sama Gendela czy Maca DeMarco (kt\u00f3ry jest jednym z wi\u0119kszych dzi\u015b propagator\u00f3w tw\u00f3rczo\u015bci HH). Na kolejne wersje czeka\u0142em &#8211; mi\u0142o pos\u0142ucha\u0107 japo\u0144skoj\u0119zycznego utworu Pearl &amp; The Oyster czy przekona\u0107 si\u0119, \u017ce jedn\u0105 z najciekawszych nowych wersji zaproponowa\u0142 Japo\u0144czyk, Rei Harakami. <em>Bara To Yaju<\/em> wraca w dw\u00f3ch wersjach &#8211; Corneliusa i Jerry&#8217;ego Papera. Ca\u0142o\u015b\u0107 nie jest wybitna, jest te\u017c do\u015b\u0107 daleka &#8211; w wi\u0119kszo\u015bci wykona\u0144 &#8211; od folkowo-rockowej stylistyki orygina\u0142u, za to nie\u017ale wykorzystuje jego melodyjno\u015b\u0107. A s\u0142uchana dzi\u015b jest jakim\u015b od\u015bwie\u017ceniem, mo\u017ce i dlatego, \u017ce cho\u0107 w Japonii \u015bwi\u0119tuj\u0105 Halloween ulicznymi imprezami, to dzie\u0144 wolny maj\u0105 dopiero 3 listopada, i jest to tamtejsze \u015bwi\u0119to konstytucji. Weekend maj\u0105 wi\u0119c nie tyle refleksyjno-weselny, co po prostu weso\u0142y.\u00a0 \u00a0\u00a0<\/p>\n<p>Przy okazji: poniewa\u017c nie b\u0119dzie osobnego wpisu z premierami listopada, to przypominam, \u017ce stale je aktualizuj\u0119, <a href=\"https:\/\/polifonia.blog.polityka.pl\/premiery-11-2024\/\">pod tym linkiem<\/a>. <a href=\"https:\/\/polifonia.blog.polityka.pl\/premiery-10-2024\/\">Tutaj z kolei<\/a> jest uzupe\u0142niona lista premier pa\u017adziernikowych. Pewnie jeszcze uro\u015bnie, bo przez zaleg\u0142e wiadomo\u015bci z Bandcampa dopiero si\u0119 przebijam.\u00a0\u00a0<\/p>\n<p><strong>R\u00d3\u017bNI WYKONAWCY \/ HARUOMI HOSONO <em>Hosono House Revisited<\/em><\/strong>, Stones Throw 2024\u00a0<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1853497691\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/haruomihosono.bandcamp.com\/album\/hosono-house-revisited\">Hosono House Revisited by Haruomi Hosono<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>26.10 <strong>RZWD<\/strong> GAPS, Gusstaff<br \/>26.10 <strong>Vogellicht<\/strong> El p\u200b\u00e1\u200bjaro y la casa ver\u200b.\u200bII, Nasze Nagrania<br \/>28.10 <strong>Alessandro Bosetti<\/strong> Coniugazioni, Canti Magnetici<br \/>28.10 <strong>Tyler The Creator<\/strong> Chromakopia, Columbia<br \/>29.10 <strong>Ben Bertrand &amp; Manah Depauw<\/strong> Black Zodiac, Stroom.tv<br \/>29.10 <strong>Wahid<\/strong> They All Go Mad!, Innovative Leisure<br \/>31.10 <strong>Escape From Warsaw<\/strong> Transit The Specter of War, Zoharum<br \/>31.10 <strong>Gaap Kvlt<\/strong> Lhute <br \/>1.11 <strong>Andy Loebs<\/strong> Cercopithecoid, Orange Milk <br \/>1.11 <strong>Autre Ne Veut<\/strong> Love, Guess Who?? <br \/>1.11<strong> Beatrice Dillon<\/strong> Seven Reorganisations <br \/>1.11 <strong>Berke Can \u00d6zcan &amp; Jonah Parzen-Johnson<\/strong> It Was Always Time, We Jazz <br \/>1.11 <strong>Bernard Parmegiani &amp; Fran\u00e7ois Bayle<\/strong> Divinie Com\u200b\u00e9\u200bdie, Recollection GRM <br \/>1.11 <strong>Contour<\/strong> Take off From Mercy, Mexican Summer <br \/>1.11 <strong>Current 93<\/strong> Sketches of My Nightmares &amp; Dreams Occurring, Cashen&#8217;s Gap <br \/>1.11 <strong>Cybotron<\/strong> Parallel Shift EP, Tresor <br \/>1.11 <strong>Destroyyyyer<\/strong> No Solace, D&amp;W <br \/>1.11 <strong>Fionn Reagan<\/strong> O Avalanche, Bella Union <br \/>1.11<strong> Florian Hecker<\/strong> Resynthese FAVN, Blank Forms <br \/>1.11 <strong>Fonogon<\/strong> &#8222;408&#8221; <br \/>1.11<strong> Freddie Gibbs<\/strong> You Only Die 1nce, ESGN <br \/>1.11 <strong>Freysteinn<\/strong> A\u00f0 einhverju\u200b\/\u200bTo Somewhere <br \/>1.11 <strong>Fucked Up<\/strong> Someday, Fucked Up <br \/>1.11 <strong>Gaister<\/strong> Gaister, AD 93 <br \/>1.11 <strong>Haruomi Hosono\/R\u00f3\u017cni wykonawcy<\/strong> Hosono House Revisited, Stones Throw <br \/>1.11<strong> J Spaceman &amp; John Coxon<\/strong> Music for William Eggleston&#8217;s Stranded in Canton, Fat Possum <br \/>1.11 <strong>Jennifer Castle<\/strong> Camelot, Paradise of Bachelors <br \/>1.11 <strong>Jere Valkonen<\/strong> Viimeist\u00e4 kertaa, Eclipse <br \/>1.11 <strong>Jon Mueller<\/strong> Duality, Room40 <br \/>1.11 <strong>Kokoroko<\/strong> Get the Message EP, Brownswood <br \/>1.11 <strong>Lil Uzi Vert<\/strong> Eternal Atake 2, Atlantic <br \/>1.11 <strong>Lykke Li<\/strong> \u018eY\u018eY\u018e, PIAS <br \/>1.11 <strong>Market Well<\/strong> I Asked You a Question, Western Vinyl <br \/>1.11 <strong>Mike Cooper<\/strong> Slow Motion Lightining, Room40 <br \/>1.11 <strong>Military Genius<\/strong> Scarred for Life, TAR \/ MM \/ UOH<br \/>1.11<strong> Mount Eerie<\/strong> Night Palace, P.W. Elverum &amp; Suns<br \/>1.11 <strong>Neon Nightmare<\/strong> Faded Dream, 20 Buck Spin <br \/>1.11 <strong>Orchestre Tout Puissant Marcel Duchamp<\/strong> Ventre unique, Les Disques Bongo Joe <br \/>1.11 <strong>Peter Perrett<\/strong> The Cleansing, Domino <br \/>1.11 <strong>Pierre Henry<\/strong> Labirynthe!, Recollection GRM <br \/>1.11 <strong>Richard Swift<\/strong> 4 Hits &amp; A Miss &#8211; The Essential Richard Swift, Secretly Canadian <br \/>1.11 <strong>Sam Blasucci<\/strong> Real Life Thing, Innovative Leisure <br \/>1.11 <strong>Sam Gendel, Benny Bock, Hans Kjorstad<\/strong> Dream Trio, Leaving <br \/>1.11 <strong>Sarah Blasko<\/strong> I Just Need to Conquer This Mountain <br \/>1.11 <strong>Sarah Neufeld, Richard Reed Perry &amp; Rebecca Foon<\/strong> First Sounds, Envision <br \/>1.11 <strong>Scrimshire<\/strong> Music for Autumn Leaves, Albert&#8217;s Favourites <br \/>1.11 <strong>SiP<\/strong> Leos Ultras, Not Not Fun <br \/>1.11 <strong>Teleplasmiste<\/strong> Of Nature &amp; Electricity, The 51st State Conspiracy <br \/>1.11<strong> The Arc of Teeth<\/strong> Untitled, American Dreams <br \/>1.11 <strong>The Breath<\/strong> Keep It Safe, Real World <br \/>1.11 <strong>The Cosmic Tones<\/strong> Research Trio All is Sound, Mississippi <br \/>1.11 <strong>The Cure<\/strong> Songs of a Lost World, Fiction <br \/>1.11 <strong>Thee Alcoholics<\/strong> Bear Bites Horse Sessions, Rocket <br \/>1.11 <strong>Thus Love<\/strong> All Pleasure, Captured Tracks <br \/>1.11 <strong>Tomin<\/strong> A Willed and Conscious Balance, International Anthem <br \/>1.11 <strong>Westside Gunn &amp; DJ Drama<\/strong> Still Praying, Griselda <br \/>1.11 <strong>Willie Nelson<\/strong> Last Leaf on the Tree, Sony <br \/>1.11<strong> World Brain<\/strong> Open Source, Mansions and Millions<\/p>","protected":false},"excerpt":{"rendered":"<p>Nagra\u0107 co\u015b weselszego ni\u017c The Cure (o nowej p\u0142ycie pisa\u0142em w POLITYCE, wi\u0119c tutaj skr\u00f3towo: jeszcze smutniejsza i bli\u017csza Disintegration ni\u017c si\u0119 zapowiada\u0142o) to nie jest oczywi\u015bcie wielkie osi\u0105gni\u0119cie. Ale w dniu wspominania zmar\u0142ych, kiedy w radiach graj\u0105 nie\u017cyj\u0105cych artyst\u00f3w, krzepi\u0105c\u0105 wiadomo\u015bci\u0105 jest ju\u017c samo to, \u017ce bohater tego wpisu \u017cyje. Haruomi Hosono ma 77 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":45042,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,444,3309,4009,3666,7,5785,106],"tags":[5866],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/45034"}],"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=45034"}],"version-history":[{"count":10,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/45034\/revisions"}],"predecessor-version":[{"id":45045,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/45034\/revisions\/45045"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/45042"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=45034"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=45034"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=45034"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}