Marcin Pryt (19 Wiosen, Tryp, 11) and Franek Wicz (ex-19 Wiosen, Pustostator), combining the soaring spirit of "Dziewiętnastki" with a lightness that would make Marek Jackowski or Piotr Szczepanik proud, created an album of the genre of those that appear once in years ...

After more than 15 years of break, Marcin Pryt (voice, lyrics) and Franek Wicz (guitar, bass, synthesizer, voice) are playing together again! And again they sail to previously undiscovered lands - as was the case with the band 19 Wiosen (19 Springs), founded in the early 1990s with the keyboardist Grzegorz Fagot. They did not hide then, to the amazement of friends from the hardcore-punk crew, with a passion for big-beat , San Remo aesthetics and baroque music. The lyrics were inspired by the crime chronicles of old boulevards from their hometown of Łódź.

Today, 19 Wiosen has the status of a legend of the independent scene. Marcin Pryt - who is also involved in the Tryp supergroup and the phenomenal duo 11, writes poems, draws and strives for "a world without borders, not marked by a compass" with the Kosmopolitania initiative - is one of the most respected characters on this stage. Franek Wicz, who did not return to 19 Wiosen after the group's reactivation in the 21st century, was then active in the original band Pustostator, but after moving to Pomeranian forests, and then to Berlin, he almost disappeared from the radar.
The album of the Niebiescy and Kutman duo was created over tea in the UBox Wicza studio, now installed in his apartment in Berlin's Rixdorf, or more precisely - in a former pantry attached to his kitchen. The window overlooks a well, but above the roof of a tall tenement house in front of you you can see a strip of sky. And on it, unlike on the "yellow strip" of the news TV, there is a completely irrelevant from the world’s point of view broadcast of events: the movement of clouds, birds, stars. The following works by Pryt and Wicz also flow along this strip: "Mucha", "Rain on Tuesday", "Raven", "Plexiglas sky", "A blind astronomer".

It is not necessary to have the gift of synesthesia to paint the world of Niebiescy and Kutman blue. Pryt, unlike in the verses and choruses of 19 Wiosen or 11, dense with words, gives space (and sometimes the microphone) to the partner. And him, a great admirer of Piotr Szczepanik and Marek Jackowski, gives an openwork construction made of beats from the old Casio synthesizer, and unhurriedly pulsating bass fills the overhead guitar, blurred in the reverberations, which sometimes sounds even more like a distorted harpsichord. And by the way, it makes us realize that melodists with a talent for writing such neat compositions appear in Polish music once in years.

What shade of Niebieski actually emerges from the combination of Pryt's lyrics and Wicz's music? Well, the uniqueness of the music of the Niebiescy is that it is both blue like the sky in hot summer and blue-gray like the weeping November skies, for example over the Cmentarna Street at seven in the morning.
I wonder what shades you will hear.