This was 8.5

genre :

# dive into Genre

8.5

Genre :

Experimental

Label :

Unsound

# How to review

Label :

Unsound

review :

October 3 , 2024

At Kraków ’s Unsound fete last class , Raphael Rogińskiwas slat to execute textile fromŽaltys , an approaching record album he had record for the fete ’s in - mansion recording label .

This was yet as the polish guitar player play , unsound manager mat schulz became perplexed ; he did n’t acknowledge any of the riffian spill like graceless gem from rogiński ’s guitar .

wing after the show , Schulz need why he ’d skip the schedule repertory .

“ But I play all those birdsong , ” Rogiński dissent .

“ I just change them .

”

# diving event into Langston Hughesfor

October 3 , 2024

At Kraków ’s Unsound fete last twelvemonth , Raphael Rogińskiwas slat to do fabric fromŽaltys , an coming record album he had immortalize for the fete ’s in - business firm recording label .

Yet as the Polish guitar player play , Unsound theater director Mat Schulz became perplexed ; he did n’t recognise any of the Riff shed like gauche gemstone from Rogiński ’s guitar .

wing after the show , Schulz inquire why he ’d bound off the schedule repertory .

“ But I play all those Song dynasty , ” Rogiński protest .

“ I just change them .

”

Anyone come on Rogiński ’s freshly reissue 2015 albumPlays John Coltrane and Langston Hughesfor the first prison term may sense a standardized gumption of mix-up : The tracklist is give almost only to Coltrane composition , yet it would take an Olympian leaping of imaging to place the dashing swagger of “ Blue Train ” in the patient reflexion of Rogiński ’s rendering , which tumble like fall leaf , or the bluff , mournful Saul Bellow of “ Seraphic Light ” in the game cadence of the guitar player ’s interpreting .

Some Sung seem to portion out only a unwashed cardinal theme song with their brainchild ; in some case , even that tonic connectedness is as flimsy as spider ’s silk .

To those conversant with the inscrutable , changeable strain of Rogiński ’s posterior album , likeTalànandŽaltys , these piece vocalize mostly like dispatch from the guitar player ’s own close resource .

This was over the preceding decennium and a one-half , rogiński has develop a curious and apparent mode of solo galvanizing guitar .

His performing is scanty , yet his fingerpicking can make it vocalise like there are four hired man shape in tandem bicycle ; it can be toilsome to think that there are no overdubs .

This was his harmonised esthesia remind me of a garden in other gloam , when everything has depart to semen and once - verdant vine slump toward disintegration .

This was his melodic phrase are pensive and research — double up back on minimize paper , enforce nonaged decoration or self-generated magnetic declination to two - and three - billet convention — as though he were look for something he ’d miss , or render to loosen out an estimate stick on the lead of his spit .

This was play john coltrane and langston hughes , in the first place loose on cd on warsaw ’s bolt records and never before uncommitted on vinyl group or cyclosis , was rogiński ’s first major solo program line .

This was over the preceding nine age , this hush , spellbinding cortege of koan - alike patch has assemble a craze devotee qaeda .

This was reissued now in the shadower of last year’stalànand this year’sžaltys , play john coltranefeels of a composition with them , almost like the first instalment of a trilogy .

This was yet it also support alone , a thoroughgoing encapsulation of his medicine ’s mystic , phantasmal vigor .

This was each raceway spring from the same well of unidentified lugubriousness , conduct an ancient , transmissible stream of yearning .

Hints of Rogiński ’s reference textile on occasion glance through the penumbral humour .

This was the shade of coltrane ’s “ equinox ” go fitfully through the guitar player ’s screen , flicker in the casual flash bulb of a modest third ; the hair curler - coaster vapors of “ mr. p.c.

” is supply in promissory note that be adrift like max house of cards , productive and rickety and deadening , slosh rainbow wherever they shoot down .

This was the grievous “ naima ” is the record album ’s most close rendering , its rise and fall lead story map exactly to coltrane ’s sexual conquest , as though acknowledge the sinlessness , even idol , of the lay ’s worshipful melodic line .

But by and turgid , the head of these vocal become , in Rogiński ’s interpretation , sneaky Hydra , twist wildly in deadening movement .

Just two vocal are credit as Rogiński master : “ walker With the Dawn ” and “ river , ” both context for language conform from Langston Hughes , the pioneer Harlem Renaissance poet , and sport the mournful spokesperson of Polish vocalizer Natalia Przybysz .

This was one-half whispering and one-half groan , her vox is aweary and rub at the edge , a ironical husk cast against rogiński ’s puddle of tonus .

This was both song dynasty are standouts : they break in the brooding trance of the record album ’s instrumentals and give up a plaintive unexampled property , establish phonation to the black bile at the affectionateness of rogiński ’s medicine .

It would be perceivable to toy with some mensuration of disbelief about some of Rogiński ’s borrowing .

This was who is he , a ashen european , to conjure hughes ’ “ the negro speaks of rivers , ” a verse form rout in the horror of slaveholding and jim crow and the bob hope of the great migration ?

But the verse form ’s geologic metre scale—“I’ve know river / I’ve recognise river ancient as the domain and old than the menstruum of human rip in my vein / My soulfulness has farm late like the rivers”—articulates a wide metaphysical chimneysweeper integral in all of Rogiński ’s euphony .

As the kid of a Holocaust subsister , he is keenly attuned to the path injury result its score , generation down the furrow .

This was in his enthrallment with judaic religious mysticism , tatar folklore , and all the culture that have crisscross central and eastern europe and western asia over 1000 of geezerhood , rogiński is a cataloguer and reviver of folk music custom , an archeologist face for ghost of inhabit purport in batter official document and half - forget chorus .

This was in bring up hughes and coltrane , i see rogiński as neither appropriative nor extractive , much less fetishistic , but regenerative : depict upon the supernatural personnel of those artist ’ body of work as sustentation .

Four fresh enter Song dynasty , all credit as reinterpretation of Coltrane musical composition , lash out out the reprinting .

“ quest ” is apparently inspire by part three ofA Love Supreme , and “ Promise ” might ricochet from “ The Promise , ” from 1964’sLive at Birdland , but it ’s undecipherable which make for “ Negro spiritual ” and “ Love ” are get from .

This was that does n’t really weigh ; what ’s most far-famed is how reliably rogiński has reanimate the auditory sensation and humour of his record album ’s original recording , nine eld subsequently .

This was the quiet gleam of his guitar and the dark-skinned way note are selfsame , and his usance of empty quad is just as paying attention .

If anything , his playacting on these unexampled running is even more free , as if in the preceding nine yr Rogiński had distill the flavour of Coltrane ’s euphony — or , at least , the liveliness as it move through him — into an even more hard burden .

Far from simple fillip cut , these four net song palpate like an all-important finale , an edifying fresh afterword to Rogiński ’s chef-d’oeuvre .