UWAGA SZKŁO by Hände: A Raw, Energetic Dive into Polish Punk
If you’re a fan of unpolished edges, gritty vocals, and that raw energy only punk rock can deliver, UWAGA SZKŁO by Hände is worth your attention. Released in 2020 under Poland’s Bat-Cave Productions, this album feels like a love letter to the underground scenes of New Wave and Post-Punk while still keeping one foot firmly planted in modern sensibilities.
The band—comprised of Grzesiek on bass and drums (yes, multitasking!), Kacper Pawluk shredding guitar duties, and Ania pulling double duty with lead vocals and keyboards—has crafted something special here. It's chaotic but intentional, rough around the edges yet undeniably catchy. Tracks like “Północ (Finlandia)” and “Marionetka” stand out as perfect examples of what makes this record tick.
Let’s talk about “Północ (Finlandia)” first—it’s hard not to remember it once you’ve heard it. The track starts with an almost hypnotic rhythm before exploding into a frenzy of driving guitars and Ania's snarling delivery. There’s something haunting about the repetition of the title; it sticks in your head long after the song ends. Whether they intended it or not, the vibe feels strangely cinematic, like the soundtrack to some cold Eastern European road trip at midnight. You can practically see your breath fogging up the car windows as the melody loops through your brain.
Then there’s “Marionetka,” which hits harder than expected. It’s fast, punchy, and dripping with attitude. Ania’s vocals have this sneering quality that perfectly matches the lyrical themes of control and manipulation. What really sells it though? The interplay between the tight drumming and those jagged guitar riffs—it’s impossible not to nod along, even if you don’t speak Polish. This track reminds me why punk will never die; it’s rebellious without trying too hard, raw without being reckless.
Other songs like “Armia” and “Ucieczka” round out the album nicely, each bringing their own flavor to the mix. But honestly, the whole thing flows so well that skipping tracks feels like cheating yourself out of the full experience. Even when the production gets a little muddy (and let’s be real, it does sometimes), it adds charm rather than detracting from the overall impact.
One minor gripe: the dual role of Grzesiek handling both bass and drums might explain why certain sections feel slightly less dynamic compared to others. Still, given how much personality oozes from every corner of this record, it’s easy to forgive.
What struck me most about UWAGA SZKŁO wasn’t just its sound—it was the feeling it left behind. Listening to it felt like stepping into a dimly lit club where everyone knows the words to the songs, even if they’re shouting them wrong. And isn’t that what great punk music should do? Make you feel part of something bigger?
Final thought: If I had to pick one weird detail to obsess over, it’d be the fact that two tracks are titled “Północ (Finlandia).” Is it a reprise? A remix? Or did someone accidentally hit save twice? Either way, it works. Like the rest of the album, it keeps you guessing—and coming back for more.
