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Warsaw Village Band - Infinity (2008)

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Warsaw Village Band - Infinity

01. Wise Kid Song		04:29
02. 1,5 h		06:20
03. Over The Forest		04:36
04. Skip Funk		03:09
05. Is Anybody In There?		03:34
06. Heartbeat (Maja & Natu IncarNated chant)	 05:06
07. Polska Fran Polska		06:03
08. Lazy Johnny Dance		03:14
09. Polka Story		04:33
10. I've Met The Girl		03:35
11. Little Baby Blues		06:25
12. Circle No. 1		04:43


01. Piesn Madrego Dziecka (4:30)
02. 1.5 h (Poltorej godziny) (6:21)
03. Bory (4:37)
04. Chmiel (3:09)
05. Gospodarz (3:35)
06. Serce (Maja & Natu IncarNated chant) (5:07)
07. Kujawiak z Polski  (6:04)
08. Leniwy oberek (3:14)
09. Polka na trzy (4:34)
10. Poznalem (3:35)
11. Baby Blues (6:25)
12. Kolo nr 1 (4:43)

Web Site:

About the album:

Here is the latest, already the fourth studio album by Warsaw Village Band, our next, long–awaited child;  and it was in fact the birth of a little human being that became the direct inspiration and cause for the creation of this album. In such situations, certain moments come when, lying beside the child, you observe its breathing, and you start to think about the countless, nameless generations that preceded us. You imagine those for whom we ourselves are going to be just an anonymous past without a face. After all, we are all born in a particular place and time, and shaped by culture of our ancestors. We live in big cities, seek our place on earth, lose old gods and find new ones, people, shelters, pictures, so that later we can hand them down to our children, who are born in a particular place and time, seek their place on earth, lose old gods and find new ones, people, shelters, pictures, so that later.. You begin feeling it clearly the moment you call others into being. No matter whether you live in Japan, the US, England, Germany or Poland – behind you stand the same generations, which like the rings of a tree, have accumulated their every trace in music, art, language – in a word – CULTURE. You emerge from it, enrich it and then pass it on. Ad infinitum. And here is how the idea of "Infinity" came into being – the need to take a dip in tradition, derive from it and create contemporary and modern compositions – to inspire other generations. Once again! 
Wojtek Krzak

1. Wise Kid Song 4:30 
2. 1.5 h (feat. Tomasz Kukurba - Kroke) 6:21 
3. Over the Forest 4:37 
4. Skip Funk (feat. DJ Feel–X) 3:09 
5. Is Anybody In There? 3:35 
6. Heartbeat (Maja & Natu IncarNated chant) (feat. Natalia Przybysz) 5:07 
7. Polska Fran Polska 6:04 
8. Lazy Johnny Dance 3:14 
9. Polka Story 4:34 
10. I’ve Met the Girl 3:35 
11. Little Baby Blues (feat. Jan Trebunia Tutka) 6:25 
12. Circle No. 1 4:43 

production & music & arrangement: M. Kleszcz/W. Krzak []
recorded: Wisla DR Studio – March 2008 – Cezary Borowski 
mix & mastering: Studio AS One Warszawa – May/July 2008 
Mario Dziurex Activator & Jarek “Smok” Smak 
all lyrics traditional 
(ex.: Wise Kid Song – R. T. Tymanski, Heartbeat – N. Przybysz/trad., Little Baby Blues – M. Kleszcz/trad.)



Maja Kleszcz – vocals, cello 
Magdalena Sobczak–Kotnarowska – vocals, dulcimer 
Sylwia Swiatkowska – vocals, violin, suka, fiddle from Plock
Wojtek Krzak – violin, violin 7/8, nyckelharpa, drums 
Piotr Glinski – baraban drum, percussion 
Maciej Szajkowski - frame drums 


First time an album of „WVB“ features not traditional music, but compositions by Wojtek Krzak and Maja Kleszcz. For the ones having not seen the ensemble the voice of Maja is a hugh surprise. Following a one-year maternity leave „Infinity“ shows us a matured Warsaw Village Band with incrediable compostions and several Polish guests.

Jaro's promo materials


The James Brown of the Carpathians, the Ghostly Voice of Krakow, and New Warsaw Soul: Warsaw Village Band Imagines the Limitless Future of Polish Music on “Infinity”

When you think of music from "other places," you either picture bands playing local traditional music or playing some form of global pop in their native language. But Warsaw Village Band, on their latest album Infinity (Barbes Records; April 7th), is forging a little-known third path for musicians "from somewhere else," from the places rarely covered in the news or taking the lead in current events, but places with roots extending deep into world culture.

This is music that is both inherently Polish, and inherently new. “People nowadays have forgotten that pop music comes from the past,” WVB songwriter and multi-instrumentalist Wojtek Krzak muses. “There would be no Rihanna, no Destiny’s Child without rock and roll. John Mayall and Elvis Presley wouldn’t exist if it hadn’t been for Black musicians from the Mississippi Delta. So, how can we really say where tradition ends and pop or classical music begins?”

The endless links in the chain of human culture stretching from forgotten ancestors to the youngest generation lie at the heart of Infinity. “As a new father, I was thinking about this connection between the generations of the past and the future,” Krzak recalls, “and suddenly I knew it was a great moment to record an album called ‘Infinity.’ To present the music of the past in a modern way for the next generation.”

Krzak and Kleszcz began working in a whole new way: composing songs instead of improvising with band members in the studio. They brought in youthful Polish soul singers and hip-hop musicians where once they had turned to musical elders in Polish villages.

In the process, they uncovered connections both functional—with African and African-American culture—and historical, the ancient ties that bind Poland with the Jewish community, Scandinavia, and the East.

Though the African connection may seem unexpected, for Krzak it makes absolute sense. “When I am listening to African music, it feels the same as traditional Polish music,” Krzak explains. “They have different rhythms and feelings, but the drum in Poland is used for the same reasons. In fact, if you think about traditional music, sometimes it’s really hard to find borders. It’s like a different taste from the same dish.”

The transcultural pulse beats in songs like “Skip Funk,” a funked-up version of a traditional Polish wedding song where Taraf de Haidouks meet P-Funk, thanks in part to the hip-hop touches of Polish rapper and DJ, Sebastian Filiks (DJ Feel-X). “Is Anybody In There?”, inspired by a traditional Polish work song, recovers the kinship of field hollers everywhere with interlocking calls and drums.

But perhaps most revealing is the unexpected funkiness WVB discovered in the high pastures of Poland’s Carpathian Mountains. For “Little Baby Blues,” WVB invited traditional Carpathian violinist and singer Jan Trebunia Tutka, to lay down a solo. “When he started to sing in this blues style, we were just blown away. It was so easy for him,” Krzak smiles. “I asked him who his main influence was. I was expecting something Romany. But he looked at me and said one name, ‘James Brown.’”

While exploring the global possibilities of Polish music—Krzak and Kleszcz also have a side project, IncarNations, that collaborates with African musicians in Poland—Warsaw Village Band continues to connect the dots of Poland’s past.

Part of this history includes the country’s long marginalized Jewish culture, now revived by a passionate interest in Polish klezmer music. With the “ghostly voice of Krakow,” as Krzak puts it, singer and violist Tomek Kukurba of the popular klezmer-inspired trio Kroke evokes a lost world on “1.5 Hours,” drawing on Jewish, Middle Eastern, and his own unique approach to Polish music.

The resemblance between the Swedish polska and Polish dances like the kujawiak, as well as a fanciful story of 17th-century Swedish soldiers taking Polish songs home with them, inspired “Polska Fran Polska.” Krzak sets aside his fiddle for the Swedish nykelharpa, along with a smaller 7/8 violin that came from the 17th-century.

Before any musical traffic over the Baltic, however, Poland had ties with the Near East, as the 16th-century kingdom of Poland once extended all the way to the Black Sea’s shores. It was perhaps there, at one of the Silk Road’s last stops, that Poles first discovered what became the suka, a bowed instrument played with edge of the fingernails related to the Indian sarangi.  This surprising heritage resounds on “Circle No. 1” in what Wojtek calls a “Slavic raga” using the traditional dulcimer and the suka to give a playful nod to Poland’s trans-Eurasian roots.

“These songs are all deeply inspired by tradition, but aren’t traditional Polish,” Krzak reflects. “This is the main difference between our previous albums and Infinity. They were about the past we had lost. But now, our music is about the future.”


Dimitri Vietze


Songlines  - UK
"Pagan Polish experimentalism"
After Upmixing, the remix album that turned tracks from 2006's Uprooting into a remarkably effective dub-reggae dance album, comes fourth studio album proper from one of the great bands in European rots and leftfield dance music.
The powerful, rousing vocal harmonies of the Village Band's trio female singers and sting players - Maja, Magdalena and Sylwia - are to the fore on the opening track "Wise Kid Song". They're matched for energy and raw power by the song's relentless riff played out on Wojtek Krzak's violin, twisting half way through with dubby effect pedals that spiral the song into the realm spirits.
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