#grzegorz stanieks

[per-the-jellicle-magician]

"What a luck! I guess so - it's Nestor the Cat! What am I seeing? Is it possible? Yes, I guess so - what a luck! Does my eyesight fail me? Or is it him… The progenitor of the roof cats Nestor the Cat […]"

I really love this moment in the ball in Warsaw. Old D's melody comes in; after a bit Old Deuteronomy, guided by psychic twins, comes down from the spot where he was watching the ball from; everyone gathers around him, and as the music swells, the lights go down, and he rises above the stage as everyone rises their arms in greeting

A mirror to the greeting he received at the end of "Old Deuteronomy", this time repeated by everyone and seemingly magical

Text in the corner of the page is in fact a fragment of "Old D", translated to English by me

In the photo, either Zbigniew Macias or Robert Dymowski as Old Deuteronomy For anyone curious, Old D is lifted by Alonzo (Andrzej Pieńko) and Bili Daley (Grzegorz Staniek). You can kinda see them under his arms. Usually they would try to stay hidden, covered by his coat over them, and Vicky and Cass standing in front obscuring them.

Photo by Marcin Czechowicz

[thesunlounge]

Reviews 105: Naphta and The Shamans

Over the course of his two LPs 7th Expedition (on Transatlantyk) and the newly released Naphta and The Shamans (on Astigmatic Records), Pawel “Naphta” Klimczak has revealed himself as a master of evocative and otherworldly moods. At its core, his music marries creative and naturalistic drum programming with far-out sampling and exploratory live instrumentation (both from Naphta himself and the many musicians he works with). But where 7th Expedition focused on esoteric jazz and cosmic Afro-vibrations, Naphta and The Shamans instead winds its way through exotic krautrock and desert psychedelia. The latter album also sees a much expanded crew of noise makers joining Naphta for his mystical jams…the titular Shamans descending from spiritual solar realms to support the sonic quest with their expert musicianship. And the pitch perfect cover art by Zbiok Czajkowksi is a nice touch, purposely evoking heavy metal fantasy with its city of clouds and sentient eye’d pyramids backgrounding some sort of interstellar demon-druid.

Naphta and The Shamans - Naphta and The Shamans (Astigmatic Records, 2018) “Dim Daybreak” comes to life with the kind of ritualistic ambiance found in those communal Amon Düül albums or even Sunburned Hand of the Man. Shakers, bells, and faraway toms accompany murky bass and guitar noodling, with streaks of tremolo picked acoustic running through the mist (perhaps from Vojto Monteur?). Jaq Merner’s emotional and floating vocals introduce a grooved out bass guitar and drum stomp, mixing organic stoned funk with captivating hand percussion from Michał Szczepaniec. The vocals grow increasingly desperate alongside wisps of guitar and celestial electronics, the whole thing coming together like some long lost cut from Can’s “Ethnological Forgery” series. “Endurance” is the first of three pieces on the A-side to feature additional production from Marcin Mrówka and erupts immediately into swaying groove intoxication, with deep kick and hand drums from Kasia Konachowicz alongside guitars baked in the desert sun. Slow motion chords and bending leads sit atop the vaguely tropical drum flow, with pillowy bass guitar tones like a psychedelic cloud helping the jam lock in. As the song progresses, the bass line opens up and starts an exploratory walk while hypno-shakers and jazz house cymbals join the rhythm, forming a solid basis for heady guitar riffs that cycle through the mind and mystical leads that sparkle like light on moving water. There are even several false endings…everything drifting away like vapor only to slam back into the mesmerizing acid rock, each return more far-out than the last.

The other two cuts featuring Marcin Mrówka are “Thom’s Beach” and “Crystal Lizard,” the first of which sees electro-toms cycling ear-to-ear over rattling tambourines, bells, and atonal guitar scratches. A thudding four-four joins the panoramic tom cascade and the guitars work their way towards something resembling a riff, albeit with plenty of atonal jazz detours. Eventually it all comes together for a skittering uptempo fusion jam intercut with sunshine guitar interludes…moments of brilliant African leaning folk in between the jaunty and dissonant grooves. “Crystal Lizard” on the other hand, evokes early Tortoise as a nice textured bassline supports Doug McCombs-style spaghetti western/surf rock/Afro leads and a dusty shuffling rhythm. There are also loungier sections with Jeff Parker-style jazz chords and twinkling idiophone melodics…mellow and smooth, and at some point it all breaks down into shambling free rock before building back up towards a sky seeking jam out. The remaining A-side cut is “Jungle of Doom,” which drops us right into a psychedelic ceremony, first with galactic echo noise and ritualistic percussion, then with shakers and kick keeping time underneath thunderous overdriven prog bass (think Jannick Top). The guitars move between shimmering riff cycles and delicate harmonics, imbuing things with a touch of blissed out solar glory and as the bass guitar grows ever meaner, anthemic claps cast sunshine spells and desert rock leads soar towards the celestial sphere.

A highlight of the whole show comes deep in the B-side with “Explorer’s Judgement.” A storming drum and bass guitar groove is smothered in murky fog, eventually rising to the light alongside sweltering heatwave synths (Jan Stulin?) that waver and glow before fading into mist. Grzegorz Staniek’s performance on live kit here is jaw dropping, locking in with some more Magmoid basslines and moving deftly between gliding booty music and epic and portentous tom-tom fills. Flutey tones hover in the air, ghostly and otherworldly, and accompany wailing guitar solos over the funked out sci-fi jam before a spellbinding rhythm section work out ends things, with Kuba Kutera’s surf riffs dotting the horizon like lysergic rainbows. Side opener “Frozen Paths” is similarly epic, but in a different way. Here harmonious guitar arpeggiations ride over a slow motion four-four beat lead by panning toms and jazzy snare work. But the rhythm quickly morphs into some sort of future jazz breakbeat and is overlaid by bright guitar notes and sparkling harmonics drifting with cut-up synth fx. Sometimes the drums move back towards the understated four to the floor ritualism, but regardless of the beat flow, the sunset hued guitars never relent in their beautiful chordscapes. And as the song progresses, we lock into a particularly spectacular post-rock climax featuring waves and waves of guitar bliss before fading away on a downbeat jazz funk outro…the rhythms taking on a body moving swing while cool e-pianos drop twilight riffs.

“Stalking Knights” is like some sort of uptempo shake charmer bass music, with earth shaking subsonic squalls and a deliriously propulsive yet off-kilter groove. Faraway eastern melodies played on glorious string synths fly through the air while echo riffs percolate and Paweł Stachowiak’s distorto-bass rains down from a burning sky. And at some point, things chill out as the guitars weave soft webs amidst the ceremonial drum humidity, with pads passing through like warm currents of air. “Firelink Shrine” is one of two cuts here featuring Bartosz Kruczyński and is another slice of swaying post-rock romance. Strangely effected guitar sound like harps and hold down a barely-there progression over cinematic and galloping drums. There are moments where classic progsynth leads rise through the shambling drum maelstrom, while dubwise echoes float alongside Michał Szczepaniec’s percussion. We even get rattling tribal interludes led by metallic shakers and atonal clacks, and in general the whole mix is a hyperactive adventure that refuses to sit still. Finally, we come to gorgeous closer “Pale Dusk”, featuring Bartosz again on synthesizer. Dreamtime ambiance swirls and synthetic static sounds like rainsticks, while wandering bass guitar and subaqueous drones work their way towards glistening oceanic wonder. Bubbling arps reveal themselves and bathe the mix in shades of aquamarine, sitting alongside another deeply moving vocal performance from Jaq. And as melancholic organs join the underwater atmospherics, we find ourselves surrounded by a perfect sundown incantation.

(images from my personal copy)

[zadrzwiami]

NAJ... NAJ...NAJ... 37. WARSZAWSKICH SPOTKAŃ TEATRALNYCH

Zestawienie redakcji teatrdlawas.pl podsumowujące 37. Warszawskie Spotkania Teatralne.

DUŻE WST NAJLEPSZY REŻYSER: Janusz Opryński - „Punkt Zero. Łaskawe” – Teatr Provisorium w Lublinie Grzegorz Wiśniewski – „Harper” – Teatr im. Stefana Żeromskiego w Kielcach NAJLEPSZY SPEKTAKL: „Punkt Zero. Łaskawe” - reż. Janusz Opryński – Teatr Provisorium z Lublina NAJLEPSZA SCENOGRAFIA: Mirek Kaczmarek - „Harper” - reż. Grzegorz Wiśniewski – Teatr im. Stefana Żeromskiego w Kielcach Barbara Hanicka – „Podopieczni” - reż. Paweł Miśkiewicz – Narodowy Stary Teatr w Krakowie Jerzy Rudzki – „Punk Zero. Łaskawe” - reż. Janusz Opryński – Teatr Provisorium w Lublinie NAJLEPSZA MUZYKA: Jean Claude Acquaviva, Maciej Rychły – „Wyspa” - reż. Grzegorz Bral – Teatr Pieśń Kozła we Wrocławiu NAJLEPSZA AKTORKA: Monika Frajczyk – „Triumf woli” - reż. Monika Strzępka – Narodowy Stary Teatr w Krakowie Monika Niemczyk – „Wszystko o mojej matce” - reż. Michał Borczuch – Teatr Łaźnia Nowa w Nowej Hucie NAJLEPSZY AKTOR: Łukasz Lewandowski, Sławomir Grzymkowski – „Punkt Zero. Łaskawe” - reż. Janusz Opryński – Teatr Provisorium z Lublina Grzegorz Falkowski – „Ślub” - reż. Anna Augustynowicz – Teatr Współczesny w Szczecinie NAJLEPSZA MĘSKA ROLA DRUGOPLANOWA Artur Krajewski – „Punk Zero. Łaskawe” - reż. Janusz Opryński – Teatr Provisorium w Lublinie NAJLEPSZE KOSTIUMY Arek Ślesiński - „Triumf woli” - reż. Monika Strzępka – Narodowy Stary Teatr w Krakowie NAJLEPSZE VIDEO Marta Nawrot - "Iwona, księżniczka Burgunda” - reż. Grzegorz Jarzyny – Theatre of Nations w Moskwie/TR Warszawa NAJLEPSZA REŻYSERIA ŚWIATŁA Mirek Kaczmarek – „Harper” - reż. Grzegorz Wiśniewski – Teatr im. Stefana Żeromskiego w Kielcach NAJLEPSZA CHOREOGRAFIA/RUCH SCENICZNY Jarosław Staniek – „Triumf woli” - reż. Monika Strzępka – Narodowy Stary Teatr w KrakowieIvan Perez Aviles - "Wyspa” - reż. Grzegorz Bral – Teatr Pieśń Kozła we Wrocławiu NAJLEPSZA GRA ZESPOŁOWA Narodowy Stary Teatr w Krakowie – „Triumf woli” - reż. Monika StrzępkaTeatr Pieśń Kozła we Wrocławiu – „Wyspa” - reż. Grzegorz Bral NAJWIĘKSZE ROZCZAROWANIE Prezentacja „Podopiecznych” w reż. Pawła Miśkiewicza z Narodowego Starego Teatru w Krakowie – w Teatrze Polskim w Warszawie tekst nie mógł wybrzmieć, bo był w dużej części po prostu niesłyszalny NAJWIĘKSZA POMYŁKA Zaproszenie Teatru im. Wojciecha Bogusławskiego z Kalisza ze spektaklem „Najgorszy człowiek na świecie” w reż. Anny Smolar