The International Women’s Day is as good occasion as any to point out that women create an awful lot of amazing sounds – a simple fact
If we don’t attach that gravity to it, it’s meaningless and we refuse to contribute to the morass of abstraction within music – we don’t dedicate our lives to just merely be entertainers for wealthy people. We use our music and our platform that we have in order to generate progress and further our conditions and beliefs as people, politically and otherwise.
“Trypolis” is a story dazzlingly told: with moving lyrics, delivered (i.e. shouted) in Marcin Pryt’s trademark style, musically complex, but coherent and distinctive at the same time. If the idea of concept albums may be kept alive, it’s on records such as this one: thought-out, fine-tuned, with texts that match the music, memorable on both the formal and emotional levels.
“Loading 7%” by Delay_ok is micro-music – created at home, using a limited number of instruments. At the same time, though, the macro aspect is there too – the sound is very spatial, full of diverse layers and interlacing ideas. Joanna Duda on “Keen” interweaves various threads, piecing them together into a colourful mosaic, which may seem incongruent at first sight, but thanks to how subtly and craftily subsequent tracks are pieced together, the record sounds coherent and convincing.
Bloor seem to be consistent to the extreme – playing with verve and freshness, avoiding routine. “Drolleries” show that the point of departure and listening to each other are key, together with a form that is not excessively long, so as not to become tiring. This is a vibrating and resonating album, which combines the anger of punk with a courageous look at jazz, repetitions, raw sound and improvisation.
Two new records by Bartosz Kruczyński: “Selected Media 2014-2018” is a tour-de-force of his composing skills and blending various aesthetics into a coherent and toned down functional music format, which can function autonomously. “Pulses” – made with Sasha Zakrevska – in turn, shows his skills in playing live, improvising and building spacious aesthetics.
„I became bored with the guitar, so I tried to make it sound like something else. Finally, I got something else – I bought a synthesizer, drum machine and after a few years… I came back to the guitar. If I play it now, I like it to have a clean sound, I don’t use a lot of effects because I actually missed the guitar itself, its sound. On Elephantine I play the guitar again. In a way I think that was kind of being inspired by an instrument again.”