Dyskusja o współczesnej scenie muzycznej - część 3
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My intention is to ask people whom I consider, in a sense, to be musical experts in our beautiful country about their opinions on the state of our alternative scene, musical novelties, inspiring artists/events, in order to create a kind of landscape AD 2023. In this episode, the questions are answered by Grzegorz Szyma from the project Hiroszyma—musician, DJ, and editor at Radiospacja, painter and graphic artist; Andrzej Korasiewicz—editor-in-chief of Alternativepop.pl; and Łukasz Komła—editor at the magazines Nowamuzyka and Polyphonia, co-organizer of numerous festivals such as Days of New Music, Jazz Jantar, and AfryKamera.
What, in your opinion, are currently the most important bands in Poland and in the world? Why?
Grzegorz Szyma: I listen to a lot of music—from classical through jazz and pop to alternative—and it's hard to simply say which band or artist is currently the most important. It's probably a derivative of taste and overall musical exposure. Therefore, I'll focus on a small segment of alternative music that mainly uses electronic sounds, which I personally like the most. I lament that the Polish scene of this music is so under-promoted and, in fact, overlooked, even though there are great bands and artists. Journalists, curiously, focus practically exclusively on promoting alternative rock, jazz, and heavy metal scenes. This also applies to the biggest festivals. We can marvel and flock to concerts of Boy Harsher, She Past Away, IAMX, yet in our own backyard, we have a wide selection of performers who create various types of alternative electronics, and their concerts and creativity do not enjoy such popularity. I still have the impression that we have some kind of "Western complex." So this time, I will focus exclusively on Polish artists to whom we should give a wind in their sails: NNHMN, Alles, Martyrmachine, Decadent Fun Club, LARMO / C.H. District, Olga Mysłowska—these are artists of different sensitivities but extremely talented and creating at a world-class level. I'll also add a guitar band here, but one that uses guitars like truly trance-like synthesizers—the Łódź-based band Wieże Fabryk.
Andrzej Korasiewicz: Bands come and go. Only after years do we see which ones were important and which just knew how to promote themselves well. Therefore, for me, the most important are those artists who can engage with their work for years (and I mean 20, 30, or 40 years, not just 5) and are still active. Young bands refer to older styles and trends—they mix and process them in their own way. Rarely does something interesting come out of it, but sometimes it does happen. We'll find out in a few years what truly has value.
Łukasz Komła: This is an incredibly tough question, like all the subsequent ones in this set (laughs). The word "most important" gives me the most trouble. I'd probably prefer to follow a different train of thought and focus on groups that I subjectively consider the most interesting recently. Among my domestic favorites are certainly the Tri-City veterans NeoQuartet, Wrocław's EABS, Zima Stulecia, and Błoto, or the now-defunct Kurws but the still-active Trupa Trupa. And further: Dynasonic, El Topo, Koń, Immortal Onion, Popsysze, Odpoczno, Polski Piach, various incarnations of Marek Pospieszalski, Wood Organization, Lonker See, wh0wh0, Blokowisko, Lotto, Kosmonauci, Psychogeografia, Radical Polish Ansambl, USO 9001, and more.
As for the global scene, I practically gave up thinking about this part of the question because I could list dozens of bands. Therefore, I'll throw out a few names worth paying attention to that have made an inspiring impression on me in recent years, including groups/artists like Carlos Niño & Friends, Ikarus, Anteloper, BKO, Makaya McCraven, aint about me, Little Mazarn, Silvan Strauss, Shht, Wu-Lu, Toxicated Keys, IKOQWE, Senyawa, On Our Own Clock, Irreversible Entanglements, 81355, Alpha Maid, Australian Art Orchestra, Asher Gamedze, Tumi Mogorosi, Alabaster DePlume, Duma, and a multitude of other groups. These are choices mainly from the last two years.
Which festival do you think is the most influential, the most important?
Grzegorz Szyma: Difficult question... Every festival, from the biggest like Open'er, through OFF, to Castle Party, has its merits and its audience. At festivals, you can watch legendary stars, one-season wonders, and debutants. It's a great way to spend summer time with friends and the music you like. Generally, festivals seem to be doing well, and that's pleasing. Personally, I also recommend the Lublin festival Inne Brzmienia, the Wrocław Industrial Festival, and the Katowice Tauron Nowa Muzyka. These are festivals with great, groundbreaking line-ups.
Andrzej Korasiewicz: Each musical community has its festival, which is the most important for them and integrates that environment. In my opinion, there isn't a festival today like Jarocin in the 80s, which was truly the most important event in Polish music, setting new trends while also showcasing various styles.
Łukasz Komła: I don't know if you meant Polish or foreign festivals? And I also don't know if, in these mixed, very sad, and on many levels difficult times, there are still influential music festivals? In Poland, a lot is happening in this area; I myself work at various festivals or cooperate in some way. I believe that the most interesting Polish jazz festival is Gdańsk's Jazz Jantar. This year marks its 26th edition. The summer installment will be in July. Not only because I'm part of Jazz Jantar, but for many years I participated in this festival as an ordinary listener, and the concert program always electrified and inspired me, aligning with my interests. From other genre areas, I appreciate Inne Brzmienia, Up To Date, Ethno Port, NeoArte—Synthesizer of Art, Fonomo, Gadafest, Ravekjavík, Avant Art, Katowice JazzArt, Eklektik Session, Lado w Mieście, DYM Festival, Lublin Jazz Festival. And if I had to mention a foreign festival that might have a real impact on the surroundings, I would point to Uganda's Nyege Nyege Music Festival.
How do you generally assess the condition of the alternative scene in Poland, Europe, and the world?
Grzegorz Szyma: I'm not a journalist, and it's not my place to make summaries. However, I think that the alternative scene has always followed an unrestrained stream of new ideas that later transitioned into the mainstream pop currents. It's no different today. This scene develops naturally and is an oasis of freedom. Someone might say that everything has already been done... and there's probably a lot of truth in that, yet still, for example, sounds change, shaped among other things by technological advancements. Now, in principle, anyone can be an artist-musician; the problem is to catch who creates valuable things. As humans, we have an irresistible need to create, so I'm not worried about the alternative that actually grows out of "not knowing how." In Poland, it's worth highlighting and mentioning four, in my opinion, very important record labels that persistently, overcoming various difficulties, release Polish alternative music, documenting this narrow strip of music for generations. They are Requiem Records, Gusstaff Records, Zoharum, and Antena Krzyku. Buy records—it's worth supporting native creativity.
Andrzej Korasiewicz: I'm not interested in the existence of an "alternative scene." To me, it's some kind of sectarianism. I'm only interested in music, and I don't divide it into "alternative" and "non-alternative." I believe that no one should limit themselves in listening to music by looking through the prism of any scenes.
Łukasz Komła: One could probably write stacks of books and various kilometer-long dissertations about this. I'm not even able to grasp a small part of this phenomenon in such a broad context. In Poland, it's very variable with the condition—frequent shortness of breath and drops in energy. Definitely, the most "well-trained" scene is the Tri-City one. There's probably no other so strong in our country, which doesn't mean that nothing is happening in other parts of Poland. Although there are certain areas where stagnation and a sad constant line are the norm. It also happens that competition and lack of cooperation between scenes/groups even within one city create a kind of deadlock, blocking development for all sides. It also happens that many local organizers or club managers do not help younger artists. More and more often, one hears about a lack of funds, especially in times of inflation, and increasingly, bizarre concert situations occur. One such incident happened recently in Poznań. The club wanted the band to ultimately finance their own performance, and it fell on already recognized and esteemed musicians. I'm not saying that lesser-known artists should finance themselves; no one should face such a situation, regardless of achievements, name, status, etc. No!
Do you think the number of events/concerts will decrease, that fewer people are eager to participate in live events?
Grzegorz Szyma: On the contrary, I think there will always be a desire to participate in live events. This is confirmed by sold-out stadiums for concerts of artists from Poland and abroad, a large number of festivals and club concerts. The problem may be that with the availability of equipment to create music, the number of people creating has increased, and sometimes I feel like there are more people on stage than in front of it. This phenomenon mainly concerns the alternative scene, but let's be honest—that's its role:-) It always blazes trails that the masses do not accept. Otherwise, it wouldn't be alternative.
Andrzej Korasiewicz: I believe that there is no shortage of people willing to participate in live events. The number of concerts overall is constantly increasing, as is the number of people participating in them. When I recall the 90s, when you could count on one hand the number of concerts by Western performers in a month, and now sometimes in one day several concerts take place in different parts of Poland, I really don't know where this question comes from. I emphasize that I'm referring to music as a whole, not to any specific "scene."
Łukasz Komła: I don't believe that the desire to experience live music will decline. At every stage of human evolution, music has been an important part of the culture-forming space. The period of intense pandemic and online concerts, playing for empty halls, was a terrifying sight. That time strongly verified many matters and views on such a field of art as music. As I mentioned earlier, probably the financial factor is decisive, and obtaining funds to organize events is crucial. Many people are eager to act/animate, but discouragement appears quickly. Very often, I hear that organizing some small concert of an artist unknown in Poland borders on a miracle unless we are attached to some institution or ministerial gold vein, although that's variable, or rather very bad.
________________________________________
Which artist currently inspires you the most?
Grzegorz Szyma: In the narrow field of electronics, I consistently draw inspiration from the creative legacy of Kraftwerk. Paradoxically, I don't really know why this band still exists now, but that's a topic for another occasion. Generally, in my work, I'm more inspired by situations from my life than someone else's music, but that's probably natural. My music is a stream of what I experience in my life, translated into a soundscape.
Andrzej Korasiewicz: If this question refers to artists who inspire me musically to listen to music, then invariably, I'm most inspired by artists who created post-punk, new wave, and synth music at the turn of the 70s and 80s. I respect the most those who still function on the music scene today, record new albums, and give concerts—Midge Ure, New Order, The Cure, Depeche Mode, New Model Army.
Łukasz Komła: I'm not able to name one band, one alias, or one name. And I see it more as a combination of phenomena, genres, personalities, contexts rather than an emblematic and hegemonic dominance of an individual.
Which bands would you most like to see live in Poland?
Grzegorz Szyma: Currently, there's such concert availability of artists from all over the world that I practically no longer have a wish list. Those I dreamed of, I've already seen, and I don't have much desire to watch them again. I prefer to discover new bands and, after years, recall that I was at their concert when they still played in a small club.
Ahhh... I just remembered:-) I would very much like to see David Sylvian, but he hasn't been touring for years, so that's probably wishful thinking. Besides that, I recommend visits to philharmonics. Classical music can be listened to endlessly.
Andrzej Korasiewicz: New Order, Tears For Fears, John Foxx, Soft Cell, The Human League, The The, Howard Jones, Icehouse, Classix Nouveaux.
Łukasz Komła: I definitely would like to see more roots projects from Africa or other parts of the world, e.g., from South America, the Middle East, or Asia. I'm very bored and disappointed when I see festival programs juggling similar names every season or the same names just wrapped in different pseudonyms. Looking to the West, I would very much like to see the American duo Clown Core.
What are you currently working on—what are your most important projects—concert, musical, DJ, artistic?
Grzegorz Szyma: Things are happening... Generally, I create simultaneously on two tracks. I graduated from the Warsaw Academy of Fine Arts and am still an active painter and graphic artist. In June, I had an exhibition opening in Berlin. BUT, of course, music has accompanied me forever, and around the year 2000, I transitioned from the position of a recipient to also a creator. For years, I co-created the band Rh+ (a joint of audiovisual performers), which ultimately transformed into Das Moon. After the band's breakup in 2020, I continue a solo "career" as Hiroszyma. I debuted with the album "Inside Isolation" released by Requiem Records. Currently, I'm working on two albums simultaneously. One will be a continuation of "Inside Isolation," and the other will be a concept album—a trance journey from Warsaw to Berlin, my two favorite—beloved cities. Of course, I perform live. The next opportunity to meet with the audience is July 16—my concert at the Castle Party festival. I can't wait. Besides that, of course, I keep DJing, and it's a separate path I've been following for years, playing in the biggest clubs, events with various musical profiles, including my flagship event DARK Party.
Andrzej Korasiewicz: Currently, I'm working on restoring materials from the former Alternativepop.pl service, which existed from 2001 to 2015, back online. Since January this year, the site is back online, although it has a slightly different character today. Materials from the old site are being successively restored, and there are also new texts.
Łukasz Komła: Work is in full swing, Jazz Jantar's summer edition is around the corner, and the autumn edition is on the close horizon. I'm intensely thinking about this year's AfryKamera and its musical aspect called AFreaks.
What, in your opinion, are currently the most important bands in Poland and in the world? Why?
Grzegorz Szyma: I listen to a lot of music—from classical through jazz and pop to alternative—and it's hard to simply say which band or artist is currently the most important. It's probably a derivative of taste and overall musical exposure. Therefore, I'll focus on a small segment of alternative music that mainly uses electronic sounds, which I personally like the most. I lament that the Polish scene of this music is so under-promoted and, in fact, overlooked, even though there are great bands and artists. Journalists, curiously, focus practically exclusively on promoting alternative rock, jazz, and heavy metal scenes. This also applies to the biggest festivals. We can marvel and flock to concerts of Boy Harsher, She Past Away, IAMX, yet in our own backyard, we have a wide selection of performers who create various types of alternative electronics, and their concerts and creativity do not enjoy such popularity. I still have the impression that we have some kind of "Western complex." So this time, I will focus exclusively on Polish artists to whom we should give a wind in their sails: NNHMN, Alles, Martyrmachine, Decadent Fun Club, LARMO / C.H. District, Olga Mysłowska—these are artists of different sensitivities but extremely talented and creating at a world-class level. I'll also add a guitar band here, but one that uses guitars like truly trance-like synthesizers—the Łódź-based band Wieże Fabryk.
Andrzej Korasiewicz: Bands come and go. Only after years do we see which ones were important and which just knew how to promote themselves well. Therefore, for me, the most important are those artists who can engage with their work for years (and I mean 20, 30, or 40 years, not just 5) and are still active. Young bands refer to older styles and trends—they mix and process them in their own way. Rarely does something interesting come out of it, but sometimes it does happen. We'll find out in a few years what truly has value.
Łukasz Komła: This is an incredibly tough question, like all the subsequent ones in this set (laughs). The word "most important" gives me the most trouble. I'd probably prefer to follow a different train of thought and focus on groups that I subjectively consider the most interesting recently. Among my domestic favorites are certainly the Tri-City veterans NeoQuartet, Wrocław's EABS, Zima Stulecia, and Błoto, or the now-defunct Kurws but the still-active Trupa Trupa. And further: Dynasonic, El Topo, Koń, Immortal Onion, Popsysze, Odpoczno, Polski Piach, various incarnations of Marek Pospieszalski, Wood Organization, Lonker See, wh0wh0, Blokowisko, Lotto, Kosmonauci, Psychogeografia, Radical Polish Ansambl, USO 9001, and more.
As for the global scene, I practically gave up thinking about this part of the question because I could list dozens of bands. Therefore, I'll throw out a few names worth paying attention to that have made an inspiring impression on me in recent years, including groups/artists like Carlos Niño & Friends, Ikarus, Anteloper, BKO, Makaya McCraven, aint about me, Little Mazarn, Silvan Strauss, Shht, Wu-Lu, Toxicated Keys, IKOQWE, Senyawa, On Our Own Clock, Irreversible Entanglements, 81355, Alpha Maid, Australian Art Orchestra, Asher Gamedze, Tumi Mogorosi, Alabaster DePlume, Duma, and a multitude of other groups. These are choices mainly from the last two years.
Which festival do you think is the most influential, the most important?
Grzegorz Szyma: Difficult question... Every festival, from the biggest like Open'er, through OFF, to Castle Party, has its merits and its audience. At festivals, you can watch legendary stars, one-season wonders, and debutants. It's a great way to spend summer time with friends and the music you like. Generally, festivals seem to be doing well, and that's pleasing. Personally, I also recommend the Lublin festival Inne Brzmienia, the Wrocław Industrial Festival, and the Katowice Tauron Nowa Muzyka. These are festivals with great, groundbreaking line-ups.
Andrzej Korasiewicz: Each musical community has its festival, which is the most important for them and integrates that environment. In my opinion, there isn't a festival today like Jarocin in the 80s, which was truly the most important event in Polish music, setting new trends while also showcasing various styles.
Łukasz Komła: I don't know if you meant Polish or foreign festivals? And I also don't know if, in these mixed, very sad, and on many levels difficult times, there are still influential music festivals? In Poland, a lot is happening in this area; I myself work at various festivals or cooperate in some way. I believe that the most interesting Polish jazz festival is Gdańsk's Jazz Jantar. This year marks its 26th edition. The summer installment will be in July. Not only because I'm part of Jazz Jantar, but for many years I participated in this festival as an ordinary listener, and the concert program always electrified and inspired me, aligning with my interests. From other genre areas, I appreciate Inne Brzmienia, Up To Date, Ethno Port, NeoArte—Synthesizer of Art, Fonomo, Gadafest, Ravekjavík, Avant Art, Katowice JazzArt, Eklektik Session, Lado w Mieście, DYM Festival, Lublin Jazz Festival. And if I had to mention a foreign festival that might have a real impact on the surroundings, I would point to Uganda's Nyege Nyege Music Festival.
How do you generally assess the condition of the alternative scene in Poland, Europe, and the world?
Grzegorz Szyma: I'm not a journalist, and it's not my place to make summaries. However, I think that the alternative scene has always followed an unrestrained stream of new ideas that later transitioned into the mainstream pop currents. It's no different today. This scene develops naturally and is an oasis of freedom. Someone might say that everything has already been done... and there's probably a lot of truth in that, yet still, for example, sounds change, shaped among other things by technological advancements. Now, in principle, anyone can be an artist-musician; the problem is to catch who creates valuable things. As humans, we have an irresistible need to create, so I'm not worried about the alternative that actually grows out of "not knowing how." In Poland, it's worth highlighting and mentioning four, in my opinion, very important record labels that persistently, overcoming various difficulties, release Polish alternative music, documenting this narrow strip of music for generations. They are Requiem Records, Gusstaff Records, Zoharum, and Antena Krzyku. Buy records—it's worth supporting native creativity.
Andrzej Korasiewicz: I'm not interested in the existence of an "alternative scene." To me, it's some kind of sectarianism. I'm only interested in music, and I don't divide it into "alternative" and "non-alternative." I believe that no one should limit themselves in listening to music by looking through the prism of any scenes.
Łukasz Komła: One could probably write stacks of books and various kilometer-long dissertations about this. I'm not even able to grasp a small part of this phenomenon in such a broad context. In Poland, it's very variable with the condition—frequent shortness of breath and drops in energy. Definitely, the most "well-trained" scene is the Tri-City one. There's probably no other so strong in our country, which doesn't mean that nothing is happening in other parts of Poland. Although there are certain areas where stagnation and a sad constant line are the norm. It also happens that competition and lack of cooperation between scenes/groups even within one city create a kind of deadlock, blocking development for all sides. It also happens that many local organizers or club managers do not help younger artists. More and more often, one hears about a lack of funds, especially in times of inflation, and increasingly, bizarre concert situations occur. One such incident happened recently in Poznań. The club wanted the band to ultimately finance their own performance, and it fell on already recognized and esteemed musicians. I'm not saying that lesser-known artists should finance themselves; no one should face such a situation, regardless of achievements, name, status, etc. No!
Do you think the number of events/concerts will decrease, that fewer people are eager to participate in live events?
Grzegorz Szyma: On the contrary, I think there will always be a desire to participate in live events. This is confirmed by sold-out stadiums for concerts of artists from Poland and abroad, a large number of festivals and club concerts. The problem may be that with the availability of equipment to create music, the number of people creating has increased, and sometimes I feel like there are more people on stage than in front of it. This phenomenon mainly concerns the alternative scene, but let's be honest—that's its role:-) It always blazes trails that the masses do not accept. Otherwise, it wouldn't be alternative.
Andrzej Korasiewicz: I believe that there is no shortage of people willing to participate in live events. The number of concerts overall is constantly increasing, as is the number of people participating in them. When I recall the 90s, when you could count on one hand the number of concerts by Western performers in a month, and now sometimes in one day several concerts take place in different parts of Poland, I really don't know where this question comes from. I emphasize that I'm referring to music as a whole, not to any specific "scene."
Łukasz Komła: I don't believe that the desire to experience live music will decline. At every stage of human evolution, music has been an important part of the culture-forming space. The period of intense pandemic and online concerts, playing for empty halls, was a terrifying sight. That time strongly verified many matters and views on such a field of art as music. As I mentioned earlier, probably the financial factor is decisive, and obtaining funds to organize events is crucial. Many people are eager to act/animate, but discouragement appears quickly. Very often, I hear that organizing some small concert of an artist unknown in Poland borders on a miracle unless we are attached to some institution or ministerial gold vein, although that's variable, or rather very bad.
________________________________________
Which artist currently inspires you the most?
Grzegorz Szyma: In the narrow field of electronics, I consistently draw inspiration from the creative legacy of Kraftwerk. Paradoxically, I don't really know why this band still exists now, but that's a topic for another occasion. Generally, in my work, I'm more inspired by situations from my life than someone else's music, but that's probably natural. My music is a stream of what I experience in my life, translated into a soundscape.
Andrzej Korasiewicz: If this question refers to artists who inspire me musically to listen to music, then invariably, I'm most inspired by artists who created post-punk, new wave, and synth music at the turn of the 70s and 80s. I respect the most those who still function on the music scene today, record new albums, and give concerts—Midge Ure, New Order, The Cure, Depeche Mode, New Model Army.
Łukasz Komła: I'm not able to name one band, one alias, or one name. And I see it more as a combination of phenomena, genres, personalities, contexts rather than an emblematic and hegemonic dominance of an individual.
Which bands would you most like to see live in Poland?
Grzegorz Szyma: Currently, there's such concert availability of artists from all over the world that I practically no longer have a wish list. Those I dreamed of, I've already seen, and I don't have much desire to watch them again. I prefer to discover new bands and, after years, recall that I was at their concert when they still played in a small club.
Ahhh... I just remembered:-) I would very much like to see David Sylvian, but he hasn't been touring for years, so that's probably wishful thinking. Besides that, I recommend visits to philharmonics. Classical music can be listened to endlessly.
Andrzej Korasiewicz: New Order, Tears For Fears, John Foxx, Soft Cell, The Human League, The The, Howard Jones, Icehouse, Classix Nouveaux.
Łukasz Komła: I definitely would like to see more roots projects from Africa or other parts of the world, e.g., from South America, the Middle East, or Asia. I'm very bored and disappointed when I see festival programs juggling similar names every season or the same names just wrapped in different pseudonyms. Looking to the West, I would very much like to see the American duo Clown Core.
What are you currently working on—what are your most important projects—concert, musical, DJ, artistic?
Grzegorz Szyma: Things are happening... Generally, I create simultaneously on two tracks. I graduated from the Warsaw Academy of Fine Arts and am still an active painter and graphic artist. In June, I had an exhibition opening in Berlin. BUT, of course, music has accompanied me forever, and around the year 2000, I transitioned from the position of a recipient to also a creator. For years, I co-created the band Rh+ (a joint of audiovisual performers), which ultimately transformed into Das Moon. After the band's breakup in 2020, I continue a solo "career" as Hiroszyma. I debuted with the album "Inside Isolation" released by Requiem Records. Currently, I'm working on two albums simultaneously. One will be a continuation of "Inside Isolation," and the other will be a concept album—a trance journey from Warsaw to Berlin, my two favorite—beloved cities. Of course, I perform live. The next opportunity to meet with the audience is July 16—my concert at the Castle Party festival. I can't wait. Besides that, of course, I keep DJing, and it's a separate path I've been following for years, playing in the biggest clubs, events with various musical profiles, including my flagship event DARK Party.
Andrzej Korasiewicz: Currently, I'm working on restoring materials from the former Alternativepop.pl service, which existed from 2001 to 2015, back online. Since January this year, the site is back online, although it has a slightly different character today. Materials from the old site are being successively restored, and there are also new texts.
Łukasz Komła: Work is in full swing, Jazz Jantar's summer edition is around the corner, and the autumn edition is on the close horizon. I'm intensely thinking about this year's AfryKamera and its musical aspect called AFreaks.
