Out of the dozen plus records Armia have released, „Legenda” (1990) and „Triodante” (1994) are widely regarded as classic Polish rock gems. The band have established their position with hundreds of concerts (with Killing Joke and New Model Army among others) and by appearing at many prestigious festivals in and outside Poland. Their concert activity is documented on such albums as „Exodus” (1991), „Soul Side Story” (2000), „Koncert na 20-lecie” (2006), and „Przystanek Woodstock 2004” (2007).
In 2006 the band released a live DVD called „Koncert na 20-lecie”, which documents the celebration of the 20th anniversary of the band’s formation. Among the guest stars are Kazik Staszewski of Kult, Moskwa, as well as former members Darek Malejonek and Sławek Gołaszewski (with his band Asunta). The 35-song track list includes some legendary Siekiera songs, with an over-an-hour long interview with Tomasz Budzyński added as a bonus.
Over the twenty years of the band’s career, its line-up consisted of many outstanding and distinguished figures of Polish rock music. The Armia of now are: Tomasz Budzyński (voice), Tomasz Krzyżaniak (drums), Krzysztof Kmiecik (bass), Paweł Klimczak (guitar), Rafał Giec (guitar), and Jakub Bartoszewski (French horn).
The power of Armia lies in the combination of Tomasz Budzyński’s poetry with the music which is at the same time sophisticated and expressive, and which merges elements of rock, folk, and even classical music. The use of the unusual instruments for today’s rock standards, such as French horn, flute, cello or violin, renders the band offer unique and guarantees them a special place on the Polish rock scene. Armia remains a band whose original music is not to be pigeonholed. The lyrics abound with references to outstanding works of the world’s literature such as Dante’s „ Divine Comedy” or poems by Samuel Beckett and Artur Rimbaud, as well as Franz Kafka novels, which again makes Armia sensational on a worldwide scale. Tomasz Budzyński’s lyrics call for a serious reflection upon the spiritual condition of man today. The band try to provide the listeners with more than mere entertainment, through their art inviting them to make an existential quest for the meaning of life.
2009 is special in the history of the band, as by the end of November they will have released two brilliant (and so different) records in one year. In February, “der Prozess” was out, another concept-album in Armia’s discography. The very title suggest the link with Franz Kafka’s masterpiece, an inspiration which Tomasz Budzyński does not deny. The album is not an illustration of the book, however, but an individual glance at the existential tragedy of each human being, coloured by the references to Kierkegaard philosophy. Most personal lyrics combined with the aggressive and complex music bring a really stunning effect. Six compositions by Paweł Klimczak make a sophisticated suite with a unique combination of hardcore stylistics with elements of jazz and even the modern avant-garde classical music. The wall of guitars, the fantastic drumming from Tomasz Krzyżaniak and Banan’s fairytale French horn make an uncanny background for the powerful vocals of Tom with theatrical touches.
Yet at the moment Armia have just finished working at the brand new album called „Freak”, which is to be released on 20 November 2009, by Isound Labels. Sensationally, founder members Robert Brylewski and Sławomir Gołaszewski took part in the session. Apart from the characteristic psychedelic guitars by Afa and the magic instruments by Merlin, the album features some free-jazz saxophones by Marek Pospieszalski and Łukasz Kluczniak (who has already contributed to the band’s concerts), as well as the otherworldly accordion from Karol Nowacki and some backing vocals from Gerard Nowak of The Soundrops. The album is produced by Tomasz Budzyński and the material has been recorded at Robert Lica Friedrich’s studio in Puszczykowo near Poznań.
“Freak”, which little resembles the monumental sound of “der Prozess”, comes as a complete stylistic shift for Armia. The fact that all the tracks are sung by Tomasz Budzyński in English only adds to the novelty of the album.
Armia’s discography:
AntiArmia (1987)
Legenda (1990)
Exodus (1991)
Czas i byt (1992)
Triodante (1994)
Duch (1996)
Droga (1999)
Soul Side Story (2000)
Pocałunek Mongolskiego Księcia (2003)
Ultima Thule (2005)
Koncert na 20-lecie (DVD, 2005)
Przystanek Woodstock 2004 (2006)
Der Prozess (2009)
Freak (2009)
Proces
Armia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Dzikie myśli, nieskończone dni
Święta ziemia, wymarzony świat
Głupia miłość jeszcze jeden raz
Wzywają mnie na sąd!
Zielone oko, przezroczyste dno
Nocny pociąg, księżycowa dal
Drogi donikąd jeszcze jeden raz
Wołają mnie na sąd!
Chodź!
Chodź!
Chodź!
Chodź, chodź, chodź, chodź, chodź!
Wszyscy moi piękni, żywi i umarli
Dalej, dalej chodź, dalej, dalej chodź.
Wszyscy moi święci, pierwsi i ostatni
Dalej, dalej chodź, dalej, dalej chodź.
Wszyscy moi święci stąd.
Wołają mnie na sąd.
Wołają mnie na sąd.
Wołają mnie na sąd.
Wołają mnie na sąd.
Wołają mnie na sąd!
Pierwsze słowo, średniowieczny blask
Ubogi duchem zapomniany smak
Zapatrzenia, góra w moich snach
Głupia miłość jeszcze jeden raz
Wołają mnie na sąd!
The lyrics to Armia's song Proces depict a person being called to judgment, with all of their memories, dreams, and desires running through their mind as they face the consequences of their actions. The opening verses describe the person's thoughts and experiences in vivid detail, from their wild and endless thoughts to their yearning for a better world and the pain of foolish love. The chorus repeats the phrase "wołają mnie na sąd" (they call me to court), emphasizing the impending judgment and the urgency of the situation.
The later verses seem to shift from an inward focus to an outward one, as the person now sees all of their loved ones and saints, both living and dead, urging them to continue forward. There is a sense of unity and solidarity in this image, with everyone supporting each other despite the impending judgment. The final lines return to the theme of foolish love, with the person reflecting on the fleeting nature of life and the bittersweet taste of their experiences.
Overall, the lyrics of Proces paint a complex and introspective portrait of a person facing their own mortality and coming to terms with their actions and desires. The repetition of the chorus and the vivid imagery throughout the song create a sense of urgency and emotional intensity, making it a powerful and thought-provoking piece of music.
Line by Line Meaning
Wszystkie drogi, wszystkie moje sny
All the paths and dreams I've had
Dzikie myśli, nieskończone dni
Wild thoughts and endless days
Święta ziemia, wymarzony świat
Sacred land and a dreamed world
Głupia miłość jeszcze jeden raz
Stupid love one more time
Wzywają mnie na sąd!
They're calling me to judgment!
Zielone oko, przezroczyste dno
Green eye, transparent bottom
Światło za wodą, rozgwieżdżona noc
Light behind the water, starry night
Nocny pociąg, księżycowa dal
Night train, moonlit distance
Drogi donikąd jeszcze jeden raz
Roads to nowhere one more time
Wołają mnie na sąd!
They're calling me to judgment!
Chodź!
Come on!
Chodź! Chodź! Chodź! Chodź, chodź, chodź, chodź, chodź!
Come on! Come on! Come on! Come on, come on, come on, come on, come on!
Wszyscy moi piękni, żywi i umarli
All my beautiful, living and dead ones
Dalej, dalej chodź, dalej, dalej chodź.
Come on, come on, walk on, walk on.
Wszyscy moi święci, pierwsi i ostatni
All my saints, first and last ones
Wszyscy moi święci stąd.
All my saints from here.
Wołają mnie na sąd.
They're calling me to judgment.
Pierwsze słowo, średniowieczny blask
First word, medieval glow
Ubogi duchem zapomniany smak
Poor in spirit, forgotten taste
Zapatrzenia, góra w moich snach
Gazes, mountain in my dreams
Głupia miłość jeszcze jeden raz
Stupid love one more time
Wołają mnie na sąd!
They're calling me to judgment!
Wołają mnie na sąd! Wołają mnie na sąd! Wołają mnie na sąd!
They're calling me to judgment! They're calling me to judgment! They're calling me to judgment!
Contributed by Sophie E. Suggest a correction in the comments below.