Michał Wdowikowski - perkusja, instrumenty perkusyjne, kompozycje (1, 4, 6)
Franciszek Pospieszalski - kontrabas
Matylda Gerber - saksofon altowy i tenorowy, kompozycje (1, 4, 5, 6)
Maciej Forreiter - gitara elektryczna, efekty, syntezator, kompozycje (1-4, 6-8)
Beniamin Łasiewicki - kompozycje (1, 4, 6)
Album's title: for better future
Label: AudioCave (2026)
Album's link on Bandcamp
Review author: Viačeslavas Gliožeris
The quartet from Wroclaw plays yass – Poland’s very own crossover genre of music, mixing free jazz, improvisational music, progressive rock from the 80s, and theatrical atmosphere. Just Sneaky Jesus' yass doesn't come from Bydgoszcz in 1990, if you understand what I mean... It originates in the second decade of a new Millennium - a very different post-liberal universe where the world's most powerful country is ruled by a person who comes from the same country's caricature of the 90s, and people are much closer to their mobile devices than to their closest relatives and best friends. People don’t like having children anymore; in many cases, they prefer owning small dogs…
Three decades ago, Yass was born as an artistic rebellion against the dogmas, strict rules, totalitarian control, and regulations of the time. It was a colorful, brave, partially absurd, cabaret-like new world, full of hope, naivety, and playfulness. And it was very creative music from the controversial times of the big changes. Some call it the music of the revolution...
Sneaky Jesus’ third studio album title “for better future” sounds very much in the key of the yass ca.1990. The quartet plays well-rounded, energetic music, noticeably influenced by the second incarnation of King Crimson (the Chapman Stick-dominated, angular sound and repetitive rhythmic constructions). The drummer Michał Wdowikowski is technically proficient enough to make compositions sound rhythmically variable and non-monotonous. There are permanent tempo and rhythm changes, and freer Matylda Gerber's sax soloing adds the required spices to the musical brew. I really like Franciszek Pospieszalski's physical double-bass “dancing“ on selected compositions – it injects some lively sparks into music. The opener, “Upiór w wizjerze // Phantom in the Peephole“ contains chants. Guitarist Maciej Forreiter is always at the forefront, offering competent guitar lines, tastefully scented with electronic effects. The music as a whole is quite comfortable and well-balanced.
Like 30 years ago, today's yass is attractive and quite accessible music for a much wider audience than just jazz lovers. In fact, it has always been part of youth culture (doesn't matter how “young” the listeners are). Simply, today's yass isn't as brave, bright, explosive, or controversial as the original, but it is still a rebellion of sorts (at least, as a statement in an album's title). At all times, music was and is a mirror of the surrounding world; an ever-changing world initiates the same changes in music. Sneaky Jesus’ yass isn't the same as Miłość's yass of the late 80s; that's true, but the times are different too.
No one will call Sneaky Jesus' music “the sound of the revolution”. Simply, because there is no revolution in today’s Poland. Most probably, for good. Sneaky Jesus's music is the yass for the Z-generation, then.
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