A fascination with the sound of 8-bit computers, with the whine of a program loaded from a tape in particular .

The "disco polo" album is, with a grain of salt, a perfect combination of youthful fascinations, stretched between classic disco (Mili Vanili, Eurobeat), punk energy (Peaches) and electro syntheticity (Kraftwerk). From the very first second, the music does not allow a moment to breathe, drawing the listener into a fascinating journey into the 1980s, while maintaining a modern and dance-like feeling.

If someone was born in the 70s and 80s of the last century and has a sailor father who, for Christmas or for his birthday, one day brought him from the "rotten West" a product of modernity of the time, i.e. an eight-bit Commodore 64 computer or Atari XE, he will probably treat the album of Mariusz Socha from Łódź with Muslim adoration and Christian love.
This great defender-captain of archaic bit machines, a generator of up to sixteen colors, designs an oceanic retrospective, the starting points of which are fascinations with the works of Papa Dance and Voyager (hence the title probably), screaming Italo disco and sabotaging breakdance. Moreover, he remixes Kraftwerk on a peanut scale (so he treats these electro giants with a grain of salt). Mariusz realized his ideas in ancient times with iron consistency and English seriousness.
Now armed with laptops and virtual instruments, the Captain holds up the old patterns, but discards the old shell, leaving only a solid frame. He has thrown off his suit of constant tailoring and changes into tattered rags, which he feels best in. He protects the core status quo from complete disintegration by painfully marking the calculator music with a generous portion of roughness. So it destroys the plans of the Big Dumpster, whose trendy weapons wanted to destroy and humiliate the eight-bit style. Strings of snarls, twittering, and the buzz of machine code proudly follow the perverse joke that completely floods Disco Polo. There were also electro-rarities. The working intelligent machines of "Break Dance" are equally faithful and in no way inferior to Aux 88 or Drexciya recordings.
If at the very beginning someone gets scared by the title of the album - the era of trash and rubbish, remember that the name is like a stick: it always has two ends. Anyway, the whole "Disco Polo" is a pure play on words, which is easy to fall into, shoot a self-kill with your thinking technique and see your ego in a small-town reflection.
_{Marcin Nieweglowski / Dosdedos - September 2006}


CDr format