Sanah “two people”: safe as at home (review)

I haven’t had the opportunity to write anything for a long time SanahSo I have to admit to something. I suggested a debut very much “Queen of Dram”. I was genuinely afraid of a sense of disappointment when returning to that album, remembering the deliberately naive, but very refined and authentic thing. The fact that the growing number of criticism with the growing popularity of Sanah simply kidnapped me to such an extent that I became blinded.

And you know what? I turned on that album before starting“Two people” And … I still think that “Queen Dram” is authentically a piece of great music that is as much in common as with pop, she also has with electropope and music in India. This is also historical proof that in the artistic terms, Sanah turned career at least controversial. What a new album only confirms.

I understand that “two people” is a continuation “Sanah sings poetry”this time connected conceptually with what the artist presented on the album “FEAST”. In short, as texts for the original compositions there are poems of popular native poets, the guest participation of a recognizable native music artist and a recipe for success guaranteed is added to this.

In terms of what was taken to the workshop and how, I really have a lot of doubts. Mickiewiczowska “Invocation” From “Pan Tadeusz” with a sounding Gregorian choir and thrown “Little, my homeland …” in the form of a chorus, it ultimately consists of an extremely grotesque form, which absurd is emphasized only by entering full on pop-rock strings at the end of the number. I also can’t defend the Sanah statement with Michał Bajor In “Eleges about … (Polish boy)” Baczyński and forgive the transformation of the moving work into a minor, but lively number with the vocal “la la la”.

But here everything breaks down that if Sanah once had the moment when she was a captivating natural antidote to the mainstream splendor, so many times this splendor can be kidnapped here. And invitation Song and Dance Ensemble “Mazowsze” down “In autumn”remembering the whole wave of Neo-Folk, drawing handfuls from folk music, is even a coarse showing how much people sitting over this album are afraid of anything that would require openness more than the Mamoń engineer.

IN “Ophelia” With Nosowska Everything that lacked the remaining songs – no emfazing, minimizing funds. This muffled techno-quarrel, indifference in vocals and subtle participation of Nosowska and growing tension really work. “I loved the Lord” They are spoiled by unnecessary vocals, but it is worth waiting for the moment when it appears Anna-Maria Jopekand the composition goes from a quasi-film, string arrangement towards jazz harmony on the piano. Sobel He effectively breaks the monotony with Sanah in the title song.

On the one hand, I appreciate that for many people who have never been fascinated by native poetry, Sanah singing lyrics from the canon can be a good introduction. In this respect, it’s an ideal album. And for me, however, it ultimately becomes experimental in places where it should not be, and safe in places where you could afford more. But Sanah is probably too much for this. Pity.

Sanah, “two people”, Magic Records