{"id":46184,"date":"2025-02-21T10:46:01","date_gmt":"2025-02-21T09:46:01","guid":{"rendered":"https:\/\/polifonia.blog.polityka.pl\/?p=46184"},"modified":"2025-02-21T11:38:58","modified_gmt":"2025-02-21T10:38:58","slug":"jego-wlasne-idaho","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2025\/02\/21\/jego-wlasne-idaho\/","title":{"rendered":"Jego w\u0142asne Idaho"},"content":{"rendered":"<p>Kilka spo\u015br\u00f3d moich ulubionych singli ubieg\u0142ego roku ju\u017c tu jest. Nowy album Trevora Powersa &#8211; znanego lepiej jako <strong>Youth Lagoon<\/strong> &#8211; nie jest ju\u017c tak\u0105 niespodziank\u0105 jak poprzedni (<em>Heaven Is a Junkyard<\/em> wydane zosta\u0142o osiem lat po poprzednim albumie), ale te wszystkie znakomite singlowe utwory, z najnowszym <em>Gumshoe <\/em>(najbardziej imponuj\u0105cym w wokalnych linii), uk\u0142adaj\u0105 si\u0119 tu zgrabnie w jedn\u0105 opowie\u015b\u0107. Autor, kompozytor i wokalista z Idaho wraca, o czym ju\u017c wiemy z zapowiedzi, do w\u0142asnego dzieci\u0144stwa. A koncept p\u0142yty jest prostym odbiciem znaleziska: ta\u015bm ze starymi rodzinnymi nagraniami trzymanymi w pude\u0142ku na buty w piwnicy domu rodzic\u00f3w. 35-letni dzi\u015b Powers prowadzi nas wi\u0119c prostym kluczem pierwszych powa\u017cnych uderze\u0144 sentymentalizmu. Robi to jednak bez pretensji, a zarazem w zajmuj\u0105cy i sp\u00f3jny spos\u00f3b: tu i \u00f3wdzie brzmieniowo odbieramy niemal dos\u0142ownie ziarno starych VHS-\u00f3w, a na ko\u0144cu w <em>Home Movies (1989-1993)<\/em> zagl\u0105damy wprost do archiwum pa\u0144stwa Powers\u00f3w z pierwszych lat \u017cycia przysz\u0142ego muzyka.\u00a0<\/p>\n\n\n<!--more-->\n\n\n\n<iframe width=100% height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/hYHQA4qogDM?si=8UzrijZhJZdF_7Cy\" 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>Pod wzgl\u0119dem muzycznym jest to d\u0142u\u017csze, pe\u0142niejsze, bardziej urozmaicone i prowadzone jeszcze pewniej ni\u017c poprzedni album. Jak to cz\u0119sto bywa (pisywa\u0142em ju\u017c o tym) instrumentem prowadz\u0105cym w \u015bwiat nostalgii jest fortepian. Po\u0142\u0105czenie akustycznych (alt\u00f3wka, instr. d\u0119te), elektrycznych (gitara, tak\u017ce Erika Eastmana) i elektronicznych brzmie\u0144 w nieprze\u0142adowanych aran\u017cacjach i indywidualne traktowanie ka\u017cdego utworu &#8211; ze spajaj\u0105c\u0105 ca\u0142o\u015b\u0107 charakterystyczn\u0105 wokaln\u0105 ekspresj\u0105 &#8211; to co\u015b, co mieli\u015bmy ju\u017c wcze\u015bniej. Ale na co ka\u017cdorazowo czekam z du\u017c\u0105 ciekawo\u015bci\u0105. Emocje przypominaj\u0105ce nieco te z film\u00f3w Richarda Linklatera (cho\u0107 w tytule notki pij\u0119 do Van Santa) s\u0105 tu mi\u0142ym bonusem.\u00a0<\/p>\n<p>A z ju\u017c s\u0142uchanych p\u0142yt z tego tygodnia polecam r\u00f3wnie\u017c z pe\u0142nym przekonaniem Jules Reidy (tu te\u017c ju\u017c single demonstrowa\u0142y klas\u0119 albumu), Julka Ploskiego w barwach s\u0142owackiej Mappy, Dominika Strycharskiego oraz epk\u0119 (jak zawsze eksportow\u0105) Trupy Trupa.<\/p>\n<p><strong>YOUTH LAGOON <em>Rarely Do I Dream<\/em><\/strong>, Fat Possum 2025\u00a0 \u00a0\u00a0<\/p>\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3963966986\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/youthlagoon.bandcamp.com\/album\/rarely-do-i-dream\">Rarely Do I Dream by Youth Lagoon<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>15.02 <strong>Jacek Doroszenko<\/strong> Environmental Practice: Resin Arpeggio, Audiobulb <br \/>15.02 <strong>Stephans<\/strong> Semi, D.I.Y. Ko\u0142o <br \/>16.02 <strong>Seu Jorge<\/strong> Baile \u00e0 la Baiana <br \/>17.02 <strong>Bartosz Dziadosz<\/strong> Theme, Dronarivm EP<br \/>17.02 <strong>Sophia Djebel<\/strong> Rose S\u200b\u200b\u200b\u00e9\u200b\u200b\u200bcheresse, Ramble <br \/>20.02 <strong>Julek Ploski<\/strong> Give Up Channel, Mappa <br \/>21.02<strong> Alfredo De La Fe<\/strong> Alfredo, Mr Bongo reed<br \/>21.02 <strong>Basia Bulat<\/strong> Basia&#8217;s Palace, Secret City <br \/>21.02 <strong>Baths<\/strong> Gut, Basement&#8217;s Basement <br \/>21.02 <strong>Califone<\/strong> The Villager&#8217;s Companion, Jealous Butcher <br \/>21.02 <strong>Cici Arthur<\/strong> Way Through, Western Vinyl <br \/>21.02 <strong>Colin Self<\/strong> respite \u221e levity for the nameless ghost in crisis, RVNG Intl <br \/>21.02 <strong>Dominik Strycharski<\/strong> <strong>Core<\/strong> Alert, Audio Cave <br \/>21.02 <strong>Enxin\/Onyx<\/strong> In Rupture, Other People <br \/>21.02<strong> Jim Ghedi<\/strong> Wasteland, Basin Rock <br \/>21.02 <strong>Joost<\/strong> Unity <br \/>21.02<strong> Jules Reidy<\/strong> Ghost\/Spirit, Thrill Jockey <br \/>21.02 <strong>Killswitch Engage<\/strong> This Consquence, Metal Blade EP<br \/>21.02 <strong>Martina Bertoni<\/strong> Electroacoustic Works For Halldorophone, Karlrecords <br \/>21.02 <strong>Maruja<\/strong> Tir na n\u00d3g, Music For Nations EP<br \/>21.02<strong> Nina Garcia<\/strong> Bye Bye Bird, Ideologic Organ <br \/>21.02<strong> Oksana Linde<\/strong> Traves\u200b\u00ed\u200bas, Buh <br \/>21.02<strong> Oren Ambarchi &amp; Eric Thielemans<\/strong> Kind Regards, AD 93 <br \/>21.02 <strong>Oruam<\/strong> Liberdade <br \/>21.02<strong> Paris Texas<\/strong> They Left Me with the Sword, EP<br \/>21.02<strong> Patterson Hood<\/strong> Exploding Trees &amp; Airplane Screams, ATO <br \/>21.02 <strong>Porridge Radio<\/strong> The Machine Starts to Sing, Secretly Canadian EP<br \/>21.02 <strong>Q Lazzarus<\/strong> Goodbye Horses: The Many Lives of Q Lazzarus (Music From The Motion Picture), Sacred Bones <br \/>21.02 <strong>Rafiq Bhatia<\/strong> Each Dream, A Melting Door, Anti-<br \/>21.02 <strong>Sam Fender<\/strong> People Watching, Polydor<br \/>21.02 <strong>Saya Gray<\/strong> Saya, Dirty Hit <br \/>21.02 <strong>Silverstein<\/strong> Antibloom, UNFD <br \/>21.02 <strong>Sopa Boba (featuring Pavel Tchikov\/Ogives and G.W. Sok\/The Ex, Oiseaux-Temp\u00eate)<\/strong> That Moment, Sub Rosa <br \/>21.02 <strong>Space Blanker<\/strong> Sonic Balms For Soothing Souls, Byrd Out <br \/>21.02 <strong>Sunny War<\/strong> Armageddon in a Summer Dress, New West <br \/>21.02 <strong>Tate McRae<\/strong> So Close To What, RCA <br \/>21.02 <strong>The Limi\u00f1anas<\/strong> Faded, Berreto <br \/>21.02 <strong>The Murder Capital<\/strong> Blindness, Human Season <br \/>21.02 <strong>Tim Hecker<\/strong> Shards, Kranky EP<br \/>21.02 <strong>Trupa Trupa<\/strong> Mourners, Glitterbeat EP<br \/>21.02 <strong>Turmeric Acid y Bardo Todol<\/strong> Sonop\u00e6dia, Strategic Tape Reserve <br \/>21.02 <strong>Wrekmeister Harmonies<\/strong> Flowers in the Spring, Thrill Jockey <br \/>21.02 <strong>Wrong Way Up<\/strong> Totally Right <br \/>21.02 <strong>Youth Lagoon<\/strong> Rarely Do I Dream, Fat Possum<\/p>","protected":false},"excerpt":{"rendered":"<p>Kilka spo\u015br\u00f3d moich ulubionych singli ubieg\u0142ego roku ju\u017c tu jest. Nowy album Trevora Powersa &#8211; znanego lepiej jako Youth Lagoon &#8211; nie jest ju\u017c tak\u0105 niespodziank\u0105 jak poprzedni (Heaven Is a Junkyard wydane zosta\u0142o osiem lat po poprzednim albumie), ale te wszystkie znakomite singlowe utwory, z najnowszym Gumshoe (najbardziej imponuj\u0105cym w wokalnych linii), uk\u0142adaj\u0105 si\u0119 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":46192,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3309,4009,4993,3666,7,5878,106],"tags":[5883],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/46184"}],"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=46184"}],"version-history":[{"count":13,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/46184\/revisions"}],"predecessor-version":[{"id":46198,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/46184\/revisions\/46198"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/46192"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=46184"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=46184"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=46184"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}