blisko pola

Sometimes you’re writing an artist biopic; and you wind up getting a history lesson. As was the case when I spoke to Piotr Miroslav, lead singer and guitarist for Blisko Pola. Turns out the name of the group translated means “close to the pole.” And apparently (as I have never been) Poland gets its name because of the vast amounts of agriculture there (as in “Pole Land”).
“Poland is a country full of fields,” Piotr said. “So traveling by car or train, one can see many of them, kind of like a sea of golden wheat. And one might feel by getting off they could ‘catch the uncatchable’ (sic) or try to get close to this something.”
However, what Piotr et al. have truly gotten closer to is their music with the release of their self-titled debut album. The instrumentation is presented classically, raw and devoid of effects or post-production work. “We recorded the instruments one after another,” he said. “The idea was to get as close to the ‘truth’ as possible. So there’s no reverberation on the vocals or instruments, making the album seem really raw.”
The final product does render a raw, Earthy sound as seen on tracks like “Sambaczaczabossanova.” Opening to simple percussion and drone vocals with accompanying double bass fill-ins, intermittent guitar plucks and viola moans. “Hear” opens demurely with simple guitar work, snare and high-hat, gradually building to the crescendo at the near end. Title track “Blisko Pola” is dour and ominous with its thumping signature and frequent time changes. The viola and clarinet duet at the midpoint stands at the foreground of a track laden with multiple soundscapes.
Surprisingly for a six piece, the outfit plays with a mantra of simplicity. Beats, notes and strums, though deliberate, are carefully placed and played with each standing on its own merit. And despite so many members bringing individual influences to the table, the commitment to their sound is preeminent. “While recording the album we didn’t think of anyone’s music and just tried to do it like we felt would be best, without influences.” Piotr said. “And I have this idea that you just find inspiration somewhere else than in music.”
The debut album is available through most major online distribution sites but Blisko Pola are not ones to rest on their laurels. “We’re working on a new album, more experimental, more acoustic, more electronic,” Piotr said. “And this year we plan to tour Poland in the spring with the new material and move on to other European countries in the autumn. If possible, we would also like to go beyond. But mostly writing new things, working on the new songs and making the experience richer than the first.” - Skopemag

Some say there are no miracles and revelations are charlatans invention. It's not true. Wonders will never cease. To everyone in a different way. To me they reveal themselves in the form of records like Blisko Pola. It's true, the city of Lodz, Poland is close to the fields. It's surrounded by one big field, actually. But the band's music has nothing to do with unleavened folksiness. It's sounds of the highest level. It's the minimum of expression cumulated in the maximum of emotion.

The Axis, around which the spiral construction of the Blisko Pola music spins, is the drums and loads of percussion instruments. It's the rhythm that steers all of the band's compositions, although it's neither dance nor loud or march music. Behind the hypnotic rhythm there swings the double bass. And then the voice of the leader, Miroslav z Pola and his ascetic guitar. In the end there comes the viola and sometimes the analog synth and clarinet. The music is getting dense, ascends to suddenly stop, cut like with a knife. Sometimes it flows gently, sometimes kicks wildly, attacking with completely unexpected sounds.

Sambaczaczabossanova from the first beats of the drums and the bass drugs you into a deep bottomless abyss. The guitar's delicate theme, viola's sidelong tone, and Miroslav's amazing voice. This piercing singing in I'm shaken towards the gives me the shivers.

Dive, the second on the list, is a masterpiece of atmosphere constructing. The motor rhythm and lazy verses that evolve into emotional, noisy finale. And the painful end with a hoarse double-bass bowing. Strong. Every piece keeps some magic surprise. Almost seven minutes long Drowning has an exquisite stringed ending - a perfect theme for a sad movie. HC, on the other hand, reminds me of music from a radio play and it's crowned with a fairytale viola solo with unreal piano accompaniment. In Pan Koziel the miniMOOG synth suddenly attacks the ears with a penetrating sound and if you listen thoroughly you will hear two voices singing in Polish and English simultaneously. In Blisko Pola a neurotic mood that surprisingly drifts to chamber music. And Just Keep Me In The Bottom is a regular... blues. Quite regular except for the heartlessly measured bass that gives the song a modern face. In Deade the musicians perfectly operate the silence, from which a beautiful melody emerges. And one more detail: the drummer plays the timpani....

I'm still dazed. [m] wafp - WAFP!

how couldnt i like those ambicous songs! lovely! i especially like the drums dropping in and out in DIVE. double bass is very nice. im not so much into harmonics (shame on me) but the rhythmics are special in each song and surprising - boing! and the viola - nice like charly chaplin picking up a white flower from the roadside..

and the vocals are cool and authentic. i like the style. a bit apocalyptic, visionary and real - like cutting ones finger while preparing some food. im really inspired now!

Its in my player all the time. My favourite is the second song (dive). I didn't get into all the tracks towards the end (didnt feel them yet). Have to listen to them over and over again to get into them as well! But so far I can tell you that I really enjoy the first 5 tracks. The sixth track is so different. Cant relate to it.
btw the viola is lovely! really good! rhythm section is dope. double bass anyway!

The quality is very good! The tracks are strong and convincing! Lots of experimenting and Im sure lots of work into this, till it developed this far! Respect! Thats tough work and speaks for the love put into it!

The voice is really smooth and pleasant. Really deep deep in the tracks, not put above the instrumentals. Very close to the instruments. And used like an instrument (my opinion). Hard work and experience! I like it!

And I like the not overwhelming arrangements. There is a quite small amount of instruments and voices. But they are so well put in place, that they consume all your attention. And they entertain as well!


All the tracks have very nice different parts and a cool arrangement. Its dope though! Just keep on doing it, how you like it! - kls