Myslovitz is a Polish alternative rock band, whose music incorporates eleme… Read Full Bio ↴Myslovitz is a Polish alternative rock band, whose music incorporates elements of college rock, shoegazing, and - arguably - Britpop (Artur Rojek used to admit Suede as an influence), with a dose of melancholy. Although often dubbed "the Polish Radiohead" by critics, their music is actually more reminiscent of Coldplay and Travis or early Radiohead. From 2003, EMI Records has been attempting to establish them internationally, with considerable support from MTV Europe. As of 2005, Myslovitz are rated as the most popular Polish act abroad. The band take their name from their industrial hometown of Mysłowice in Upper Silesia (Southern Poland).
Guitarist and vocalist Artur Rojek (born 1972) started the band in 1992 as "The Freshmen", taking the initial name from the movie The Freshman starring Marlon Brando - which indicates a fascination with cinema that would become a characteristic feature throughout the band's career. The early phase was characterised by a somewhat debonair punk attitude, as Rojek admits: "I started Myslovitz in 1992. I was twenty then and I had no idea how to make good music. Surely, I was a big fan of a few British groups (Ride, The Stone Roses, My Bloody Valentine, The Housemartins) but I couldn't play the guitar at all. After several months of rehearsals [...] I decided that I should cover the holes in my musical education by [...] chaos (the bigger the better)." [1].
Even so, they soon caught the media's attention, winning several important competitions for young musicians; this enabled them to make their first professional recordings in the studio of Radio Lodz. In 1994, Myslovitz were signed by MJM Music Polska and recorded their self-titled debut album with British producer Ian Harris, who had previously worked for, amongst others, Joy Division, New Order, and The Exploited. Upon its release in 1995, the album received euphoric reviews and was declared "Debut of the Year" by several music magazines. Some critics compared it to Oasis, who were at the peak of their popularity at that time.
In 1996, Myslovitz were joined by a third guitarist and keyboarder, Przemek Myszor, and released the second album Sun Machine on Sony Music Polska. The album spawned two somewhat beatlesque airplay hits - Z twarzą Marilyn Monroe ("With the Face of Marilyn Monroe") and Peggy Brown, the latter being a cover version of a fellow Mysłowice rock band, with lyrics originally by the Irish "national bard" Turlough O'Carolan (in a translation by the Polish lyricist and translator Ernest Bryll).
The following year, the third album Z rozmyślań przy śniadaniu ("From meditiations over breakfast") was released, displaying a tendency towards a more "polished" sound and more introspective lyrics. Also, Myslovitz's now typical fascination with cinema began to take centre stage with numerous allusions and hints in the lyrics and track titles, and a certain "cinematic" atmosphere in the music itself.
The band's interest in cinema also showed in their contributions to soundtracks. In 1998, they recorded the unconventional track To nie był film ("That was no film") for the Polish movie Młode wilki ½ ("Young Wolves ½"). The lyrics referred to a wave of violent crimes committed by juvenile delinquents, which was controversially discussed in Polish mass media in the mid-1990's. The explicit depiction of violence in the lyrics and the accompanying video clip (which later won a Fryderyk award as "Video of the Year") caused further controversy and led Polish broadcasting networks to boycott both the song and the clip.
Also in 1998, Myslovitz had their first appearances abroad with gigs in Sweden, Germany, and the United States.
The final breakthrough for the band came in 1999 with their fourth album entitled Miłość w czasach popkultury ("Love in The Time of Pop Culture"), which went platinum (i.e. 150,000 copies sold) soon and has by now achieved "double platinum" status in Poland. The single Długość dzwięku samotności ("The Length of the Solitude Sound") became the biggest hit for the band so far.
In 2000 Myslovitz again contributed to soundtracks, writing and recording the song Polowanie na wielblada ("Camel Hunting") for the movie Duże zwierzę ("The Big Animal") by the legendary Polish actor and director Jerzy Stuhr, and the single plus another two (previosly unreleased) tracks to director Waldemar Szarek's movie "That's Us" (To my). In 2003 Myslovitz continued their cooperation with Stuhr, creating not only the title song for his movie "Tomorrow's Weather", but also appearing in walk-on roles - as neophyte monks.
In 2002, the follow-up to Miłość..., entitled Korova Milky Bar appeared; the title being an allusion to Stanley Kubrick's classic screen version of Anthony Burgess's A Clockwork Orange. Strikingly, the melancholic elements took over almost completely, with both music and (sometimes sarcastic) lyrics creating an almost depressive overall mood. Nonethelss, the album sold even more copies than its predecessor had in the same time, with the singles Acidland and Sprzedawcy marzeń ("Dreamsellers") repeating the success of Długość... three years earlier.
The reason for the new material's popularity, as some critics surmised, was that its atmosphere closely conformed to a presumed resignative-recessive mood within Polish society at large - which guitarist Przemek Myszor seemed to confirm in an interview for the Montreal Mirror: "For us, the Korova Milky Bar [from Kubrick's 'A Clockwork Orange'] is a place where something different may happen to your mind. It's a place like today’s Poland. You know, Poland is a place where very strange things happen to your mind. It's a country full of crisis and everything around you is very sad, very dark, very fucked. There is an economic crisis here. People don't have money, politics are fucked. The lyrics on our record are sad because of this. We sing a lot about being in a strange state of mind" [2].
With Korova Milky Bar, Myslovitz appeared at several festivals throughout Europe, including the big, traditional German festival for Alternative acts (Bizarre) and the prestigious Montreux Jazz Festival. Also, they supported Iggy Pop and the Simple Minds on their European tours that year. Also, they received an MTV Europe Music Awards in Barcelona for Best Polish Act, having been nominated twice in previous years.
In November 2002 Myslovitz signed a new contract with EMI's Polish outlet Pomaton. The first album to be released on the new label was an English-language re-recording of Korova Milky Bar, which war released in 27 countries (including Germany, the Netherlands, Belgium, Switzerland, France, Spain, Russia, Turkey and South Africa). In addition to the Korova... material, this version also included English versions of older tracks. Długość dzwięku samotności now became a single as The Sound of Solitude (an earlier English version had somewhat awkwardly but more correctly entitled The Length of The Solitude Sound had been a Polish b-side). A video clip for this song was directed Janusz Kaminski, the Polish Hollywood cinematographer who had won Academy Awards for Best Cinematography with Schindler's List and Saving Private Ryan, and had declined an offer from Martin Scorsese in order to work with Myslovitz. Kaminski declares himself a "fan" of Myslovitz, saying "I only work for Spielberg and Myslovitz [...] Money is not a factor in this. What one doesn't do for one's idols!" [3] The clip got frequent plays on MTV Europe and the album received positive reviews in the European music press, particularly in Germany. However, radio airplay was sporadic and largely limited to Alternative programmes (such as John Peel in the UK), as a consequence, Myslovitz so far failed to enter the upper reaches of the charts outside Poland.
Also in 2003, Myslovitz performed with Travis and Skin (of Skunk Anansie fame) on The Road to Edinburgh, where they received another MTV Europe Music Award for Best Polish Act.
The same year, Sony Music domestically released an obligatory end-of-contract compilation album, entitled The Best of. The lead single Kraków was an older song re-recorded with 1970s Polish folk rock stars Marek Grechuta and Anawa.
In the summer of 2004 Myslovitz were touring Europe again, starting with a concert for the German public radio and television broadcaster WDR on the eve of EU enlargement. Apart from headlining smaller venues and playing festival slots (including the largest Swiss open air event in St. Gallen, they again opened for Iggy Pop & The Stooges on their European dates, as well as for The Corrs in the UK and mainland Europe.
In December 2004, EMI released Myslovitz's most recent album entitled Skalary, mieczyki, neonki ("Angelfish, swordtails, neon tetras") - an out-of-schedule release with outtakes from the Korova Milky Bar recording sessions; longish, psychedelic-experimental and mostly instrumental soundscapes with an utterly melancholic mood to them. On Skalary..., Myslovitz appear about as close to the Radiohead reference as they are likely to get; there are also some tangible similarities with Pink Floyd.
At the time, the band had finished recording of their new album "Happiness is easy", which is planned to appear on 12 May 2006. The album will include 13 new songs and the first single promoting it is "Mieć czy być" ("To have or to be"), inspired by the book of the same title by Erich Fromm.
Myslovitz's success arguably contributed to a revitalisation of the Polish alternative rock scene in the late 1990's and early 2000's, which spawned bands such as eM, Kombajn do zbierania kur po wioskach, and Lili Marlene.
Guitarist and vocalist Artur Rojek (born 1972) started the band in 1992 as "The Freshmen", taking the initial name from the movie The Freshman starring Marlon Brando - which indicates a fascination with cinema that would become a characteristic feature throughout the band's career. The early phase was characterised by a somewhat debonair punk attitude, as Rojek admits: "I started Myslovitz in 1992. I was twenty then and I had no idea how to make good music. Surely, I was a big fan of a few British groups (Ride, The Stone Roses, My Bloody Valentine, The Housemartins) but I couldn't play the guitar at all. After several months of rehearsals [...] I decided that I should cover the holes in my musical education by [...] chaos (the bigger the better)." [1].
Even so, they soon caught the media's attention, winning several important competitions for young musicians; this enabled them to make their first professional recordings in the studio of Radio Lodz. In 1994, Myslovitz were signed by MJM Music Polska and recorded their self-titled debut album with British producer Ian Harris, who had previously worked for, amongst others, Joy Division, New Order, and The Exploited. Upon its release in 1995, the album received euphoric reviews and was declared "Debut of the Year" by several music magazines. Some critics compared it to Oasis, who were at the peak of their popularity at that time.
In 1996, Myslovitz were joined by a third guitarist and keyboarder, Przemek Myszor, and released the second album Sun Machine on Sony Music Polska. The album spawned two somewhat beatlesque airplay hits - Z twarzą Marilyn Monroe ("With the Face of Marilyn Monroe") and Peggy Brown, the latter being a cover version of a fellow Mysłowice rock band, with lyrics originally by the Irish "national bard" Turlough O'Carolan (in a translation by the Polish lyricist and translator Ernest Bryll).
The following year, the third album Z rozmyślań przy śniadaniu ("From meditiations over breakfast") was released, displaying a tendency towards a more "polished" sound and more introspective lyrics. Also, Myslovitz's now typical fascination with cinema began to take centre stage with numerous allusions and hints in the lyrics and track titles, and a certain "cinematic" atmosphere in the music itself.
The band's interest in cinema also showed in their contributions to soundtracks. In 1998, they recorded the unconventional track To nie był film ("That was no film") for the Polish movie Młode wilki ½ ("Young Wolves ½"). The lyrics referred to a wave of violent crimes committed by juvenile delinquents, which was controversially discussed in Polish mass media in the mid-1990's. The explicit depiction of violence in the lyrics and the accompanying video clip (which later won a Fryderyk award as "Video of the Year") caused further controversy and led Polish broadcasting networks to boycott both the song and the clip.
Also in 1998, Myslovitz had their first appearances abroad with gigs in Sweden, Germany, and the United States.
The final breakthrough for the band came in 1999 with their fourth album entitled Miłość w czasach popkultury ("Love in The Time of Pop Culture"), which went platinum (i.e. 150,000 copies sold) soon and has by now achieved "double platinum" status in Poland. The single Długość dzwięku samotności ("The Length of the Solitude Sound") became the biggest hit for the band so far.
In 2000 Myslovitz again contributed to soundtracks, writing and recording the song Polowanie na wielblada ("Camel Hunting") for the movie Duże zwierzę ("The Big Animal") by the legendary Polish actor and director Jerzy Stuhr, and the single plus another two (previosly unreleased) tracks to director Waldemar Szarek's movie "That's Us" (To my). In 2003 Myslovitz continued their cooperation with Stuhr, creating not only the title song for his movie "Tomorrow's Weather", but also appearing in walk-on roles - as neophyte monks.
In 2002, the follow-up to Miłość..., entitled Korova Milky Bar appeared; the title being an allusion to Stanley Kubrick's classic screen version of Anthony Burgess's A Clockwork Orange. Strikingly, the melancholic elements took over almost completely, with both music and (sometimes sarcastic) lyrics creating an almost depressive overall mood. Nonethelss, the album sold even more copies than its predecessor had in the same time, with the singles Acidland and Sprzedawcy marzeń ("Dreamsellers") repeating the success of Długość... three years earlier.
The reason for the new material's popularity, as some critics surmised, was that its atmosphere closely conformed to a presumed resignative-recessive mood within Polish society at large - which guitarist Przemek Myszor seemed to confirm in an interview for the Montreal Mirror: "For us, the Korova Milky Bar [from Kubrick's 'A Clockwork Orange'] is a place where something different may happen to your mind. It's a place like today’s Poland. You know, Poland is a place where very strange things happen to your mind. It's a country full of crisis and everything around you is very sad, very dark, very fucked. There is an economic crisis here. People don't have money, politics are fucked. The lyrics on our record are sad because of this. We sing a lot about being in a strange state of mind" [2].
With Korova Milky Bar, Myslovitz appeared at several festivals throughout Europe, including the big, traditional German festival for Alternative acts (Bizarre) and the prestigious Montreux Jazz Festival. Also, they supported Iggy Pop and the Simple Minds on their European tours that year. Also, they received an MTV Europe Music Awards in Barcelona for Best Polish Act, having been nominated twice in previous years.
In November 2002 Myslovitz signed a new contract with EMI's Polish outlet Pomaton. The first album to be released on the new label was an English-language re-recording of Korova Milky Bar, which war released in 27 countries (including Germany, the Netherlands, Belgium, Switzerland, France, Spain, Russia, Turkey and South Africa). In addition to the Korova... material, this version also included English versions of older tracks. Długość dzwięku samotności now became a single as The Sound of Solitude (an earlier English version had somewhat awkwardly but more correctly entitled The Length of The Solitude Sound had been a Polish b-side). A video clip for this song was directed Janusz Kaminski, the Polish Hollywood cinematographer who had won Academy Awards for Best Cinematography with Schindler's List and Saving Private Ryan, and had declined an offer from Martin Scorsese in order to work with Myslovitz. Kaminski declares himself a "fan" of Myslovitz, saying "I only work for Spielberg and Myslovitz [...] Money is not a factor in this. What one doesn't do for one's idols!" [3] The clip got frequent plays on MTV Europe and the album received positive reviews in the European music press, particularly in Germany. However, radio airplay was sporadic and largely limited to Alternative programmes (such as John Peel in the UK), as a consequence, Myslovitz so far failed to enter the upper reaches of the charts outside Poland.
Also in 2003, Myslovitz performed with Travis and Skin (of Skunk Anansie fame) on The Road to Edinburgh, where they received another MTV Europe Music Award for Best Polish Act.
The same year, Sony Music domestically released an obligatory end-of-contract compilation album, entitled The Best of. The lead single Kraków was an older song re-recorded with 1970s Polish folk rock stars Marek Grechuta and Anawa.
In the summer of 2004 Myslovitz were touring Europe again, starting with a concert for the German public radio and television broadcaster WDR on the eve of EU enlargement. Apart from headlining smaller venues and playing festival slots (including the largest Swiss open air event in St. Gallen, they again opened for Iggy Pop & The Stooges on their European dates, as well as for The Corrs in the UK and mainland Europe.
In December 2004, EMI released Myslovitz's most recent album entitled Skalary, mieczyki, neonki ("Angelfish, swordtails, neon tetras") - an out-of-schedule release with outtakes from the Korova Milky Bar recording sessions; longish, psychedelic-experimental and mostly instrumental soundscapes with an utterly melancholic mood to them. On Skalary..., Myslovitz appear about as close to the Radiohead reference as they are likely to get; there are also some tangible similarities with Pink Floyd.
At the time, the band had finished recording of their new album "Happiness is easy", which is planned to appear on 12 May 2006. The album will include 13 new songs and the first single promoting it is "Mieć czy być" ("To have or to be"), inspired by the book of the same title by Erich Fromm.
Myslovitz's success arguably contributed to a revitalisation of the Polish alternative rock scene in the late 1990's and early 2000's, which spawned bands such as eM, Kombajn do zbierania kur po wioskach, and Lili Marlene.
Chłopcy
Myslovitz Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Wieczorami chłopcy wychodzą na ulicę
Szukają czegoś co wypełni im czas
Rzucają kamieniami w koła samochodów
I patrzą na spódnice dziewczyn które nie chcą ich znać
Wieczorami chłopcy wychodzą na ulicę
Bo wieczorami nie widać szarości
Nie widać brudnych ulic a latarnie nie świecą
I można udawać że można na spacer pójść
Wieczorami chłopcy wychodzą na ulicę
Marzą o życiu w dalekich krainach
Spoglądając w puste lornetki butelek
Dyskutują o amerykańskich filmach
Wieczorami chłopcy wychodzą na ulicę
Siadają na chodniku i palą jointy
Robią wszystko żeby stąd uciec
Kiedy wreszcie mogą to wtedy nie mogą się ruszyć
Szukają czegoś co wypełni im czas
Rzucają kamieniami w koła samochodów
I patrzą na spódnice dziewczyn które nie chcą ich znać
Wieczorami chłopcy wychodzą na ulicę
Bo wieczorami nie widać szarości
Nie widać brudnych ulic a latarnie nie świecą
Wieczorami chłopcy wychodzą na ulicę
Marzą o życiu w dalekich krainach
Spoglądając w puste lornetki butelek
Dyskutują o amerykańskich filmach
Wieczorami chłopcy wychodzą na ulicę
Siadają na chodniku i palą jointy
Robią wszystko żeby stąd uciec
Kiedy wreszcie mogą to wtedy nie mogą się ruszyć
The lyrics of the song "Chłopcy" by Myslovitz depict the aimlessness and boredom of teenagers in Poland, who go out on the streets in the evenings searching for something to fill their time. The boys throw stones at passing cars, and stare at the skirts of girls who do not want to know them. They long to escape their dreary surroundings, gazing through the empty lenses of bottles, talking about American movies and dreaming of far-off lands. They smoke joints, and try to do everything to escape their reality, but when the opportunity presents itself, they are unable to move.
This song speaks to the disillusionment felt by many teenagers, especially in small towns where there is little to do and few prospects for the future. The song sheds light on the universal experience of teenage boredom, which often leads to reckless and destructive behavior. The song’s chorus, "Wieczorami chłopcy wychodzą na ulicę," captures the essence of their restlessness.
Overall, the song conveys a sense of sadness and frustration, and serves as a poignant reminder of the challenges faced by youth who yearn for more while struggling to find their way.
Line by Line Meaning
Wieczorami chłopcy wychodzą na ulicę
In the evenings, the boys go out on the street
Szukają czegoś co wypełni im czas
They look for something to fill their time
Rzucają kamieniami w koła samochodów
They throw stones at passing cars
I patrzą na spódnice dziewczyn które nie chcą ich znać
And they look at the skirts of girls who don't want to know them
Bo wieczorami nie widać szarości
Because in the evenings, there is no greyness
Nie widać brudnych ulic a latarnie nie świecą
You can't see dirty streets and the lanterns don't shine
I można udawać że można na spacer pójść
And you can pretend that you can go for a walk
Marzą o życiu w dalekich krainach
They dream of life in distant lands
Spoglądając w puste lornetki butelek
Looking into empty bottle lenses
Dyskutują o amerykańskich filmach
They talk about American movies
Siadają na chodniku i palą jointy
They sit on the pavement and smoke joints
Robią wszystko żeby stąd uciec
They do everything to escape from here
Kiedy wreszcie mogą to wtedy nie mogą się ruszyć
But when they finally can, they can't move
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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@zyciowysmutek5496
Przypomina mi to czasy,czasy młodości których,w moim przypadku, nawet się nie przeżyło ,bo zabrakło odwagi
bo otoczenie rodzinne i szkolne zniszczyło :'(
A teraz teraz to już za puźno ,tylko żal i gorycz pozostały za nieprzeżytym życiem
Zawsze na dnie od początku do końca
I tak się żyje w małym mieście na końcu kraju eh
97'
@pacjentzero9365
In the evenings the boys go out into the streets
Looking for something that will fill their time
They throw stones at car wheels
And look at the skirts of girls who don't want to know them
In the evenings the boys go out into the streets
Because in the evenings you can't see the grayness
Can't see the dirty streets and streetlights don't shine
And you can pretend, that you can go for a walk
In the evenings the boys go out into the streets
Dreaming about life in distant lands
Looking into empty bottle binoculars
discussing American movies
In the evenings the boys go out into the streets
Sit on the sidewalk and smoke joints
They do anything to get away from here
When they finally can then they can't move
@martakola4693
Wieczorami chłopcy wychodzą na ulicę
Szukają czegoś, co wypełni im czas
Rzucają kamieniami w koła samochodów
I patrzą na spódnice dziewczyn, które nie chcą ich znać
Wieczorami chłopcy wychodzą na ulicę,
Bo wieczorami nie widać szarości
Nie widać brudnych ulic a latarnie nie świecą
I można udawać, że można na spacer pójść
Wieczorami chłopcy wychodzą na ulicę
Marzą o życiu w dalekich krainach
Spoglądając w puste lornetki butelek
dyskutują o amerykańskich filmach
Wieczorami chłopcy wychodzą na ulicę
Siadają na chodniku i palą jointy
Robią wszystko żeby stąd uciec
Kiedy wreszcie mogą, to wtedy nie mogą się ruszyć
@adampecsek
I don't speak a word of Polish, but I absolutely love this song. I've nearly memorized it phonetically.
@swiadomosc_porazki
ja sieuczę angielskiego i powiem Tobie chłopię, że ta piosenka mnie wychowała i pozostanie ze mną do śmieci. Zdrowia i Weosłych Świąt ;)
@shawty_mati2883
Dziękuję Ci tato za puszczenie mi tego zespołu w 2010 roku jak miałem 5 lat, od tej pory zespół ten pozostał w mojej głowie do dziś i na zawsze
@krzysztofklon6932
najlepszy!!!!
@rafacio3993
Zajefajny kawałki pozdro
@natanrerych9929
Byłem ich fanem mając lat 15 - wtedy ważne były dla mnie teksty ich piosenek. Teraz mam lat 32. I dopiero teraz widzę jak zajebiście dobre w warstwie myzycznej było tamto Myslovitz... Potrafię wyłączyc w myślach glos Rojka a słyszeć tylko genialną gitarę, to jak współpracuje z basem i perkusją... Mistrzostwo świata. Myślę że technicznie to poziom zdecydowanie wyżej niż Blur, a blizej Oasis i Stone Roses.
@violettacybulska
Absolutnie genialna piosenka! Wszystko- tekst, muzyka, wykonanie, cały holistyczny przekaz...Każdym milimetrem, watem i nienazwaną jednostką duszy go odbieram
@AXEL8567
Tak jest🌟🌟🌟🌟🌟
@adamfelski9078
Pieknie to ujelas
@violetindigo8514
Coś jest w tej piosence że się w ogóle nie nudzi, mimo upływu tylu lat wciąż tak samo się podoba ❤️