With such a captivating title, this veteran Polish prog band managed to seduce me into getting their latest work, not an arduous task at all, as my Millenium collection now has reached 13 releases, being a complete pushover for anything emanating from this blessed land. A divine cover illustrates the romantic neo-prog magic to the nth degree found inside the 9 tracks offered here, some being alternate versions, perhaps even demos, matters not the quality is there in spades. While all their albums since 2004 are evenly attractive, there is little doubt in my mind (as well as my ears), that this talented crew just keeps refining their style, just like fine vintage wine improving in texture, volume and savor. Their 2024 release ‘Hope Dies Last’ was a sheer joy to listen to and worship, and here, the bar is maintained, if not elevated a few more measures (inches or centimeters), perhaps their finest effort yet. Keyboardist, guitarist and composer Ryszard Kramarski is surely among the most prolific prog artists anywhere on the planet with a multitude of ongoing projects. Masterful lead guitarist Piotr Plonka and sensational saxman Lukasz Platek are not only consistently stunning, but they are also the main soloists along with Ryszard, while the perennially awesome rhythm section of Krzysztof Wyrwa and Gregorz Bauer provides both subtlety and foundational solidity at a moment’s notice. Last but not least, three amazing vocalist are available, the current one David Lewandowski (not the footy star), ably assisted by longtime lead vocalist Lukasz Gall (Galeziowski) who left after ‘the Sin’ in 2020 and Marek Smelkowski (Padre, RKP) who has been around for ages on a few past albums.
Launching any album with a 15 minute + masterstroke is a daunting task, the title track immediately penetrating all the possible defences one might erect (tired, busy, bored, unhappy) and shove all the anguish aside with seeming impunity. The melodies and the delivery are off the charts, daring to begin with acoustic guitars and flute to settle the heartbeat into acceptance, an unhurried but impactful rhythmic groove that provides all three vocalist their podium to shine brightly. The glittering lead guitar line layers just the right amount of emotion, and one can only succumb to the realization that this piece just may become a classic, proving the thankfully few neo haters that they may be mistaken in their facile judgement. Every moment here is drenched in melancholic passion and unending instrumental progression, the saxophone entering at the just perfect time, a trait that has a most noticeable impact as its repeated a few more times. The gorgeous melodies may have been lost but finding them again are a gift worth discovering, a subtle choir (the three singers in fact) impress and an emotional lead guitar flurry from Plonka seals the deal. Even bassist Wyrwa does a spotlight appearance, rumbling underneath with elegance and grace, Kramarski adding moody synthesized layers and the voices now electrically hushed. The extended solemn outro is sonic healing at its best, warm and comfortable blanket of melancholic bliss. The gritty guitar riffs provide suspense as well as gravitas, a stroke of genius that cannot be denied. This track begs to be heard.
Lewandowski tackles the remorse saturated “Past the Veil of Clouds”, thus sustaining the mood without dropping a second of interest, the restraint expressed as an obvious sign of unharried patience and musical maturity. A flute and piano section preserves the fragility, long enough for a scouring Plonka electric axe flight that soars way past what the title implies, straight into the bold sunshine beyond the pale. Its ‘eargasmic’ and exalted, not too distant from Gilmour’s classic bluesy style, the vocals following suite in expressing the agony as well as the ecstasy.
While an undeniable truism, “Something Ends, Something Begins” requires the understanding that in order to evolve properly, it is crucial to keep some semblance of historical comfort before attempting to alter the future of any story. The arrangement here opts for some clever vocal effects that leap out of the speakers, swirling amid a colossal symphonic convergence of explosive proportions, all instruments ablaze and in full partnership, raising the roof and showing a new threshold to enter after the fall. The premise behind the transitions are never about overhauls but of modifications that persist in subtlety, such as the sweeping pastoral keyboard section that sets the stage for some fretboard purity once again. Throughout the melodicism is preserved and that, my esteemed friends is the mark of talent.
Time for a more conventional power ballad in “Save Me”, not necessarily an easy task if done with impudence, but in their hands those fears are vaporized in an instant. The passionate vocals in particular have a strong Collage feel, the playing keeping things tightly in place without any overkill. A tasty break from all the previous drama. “To Err is Human” was first played on the previous album within a 7-minute frame, here shortened somewhat in an alternate version (4:26) that takes the main components as the focus, the keyboard and guitar solos kept concise. “Hope Dies Last” the title of the album before also gets a surgical operation, slicing off about the same rate (1/3) and keeping the core intact and flavoursome, including another gloriously personal melody for the ages. “River of Love” was last heard on the 2020 “Rarities” compilation, a simple love song, which in my romantic book can never do any wrong, the finest human attribute by far, alas not always in style, such as lately.
Back to modern prog workings on the extremely catchy “L.Y.C 2024”, the vocoder taking another bow amid its electronic lustre, the polish (pun) artfully caressed when the Lewandowski emotes on the microphone, the bubbly bass undulating like a viper in the grass. As Plonka tastefully adorns sensible licks, flicks and streaks to the inclusive impression, a wistful achievement that forces a majestic melody that cannot leave the mind unchecked, becomes apparent. Well played, team Poland.
And to complete this wonderful hour of flawless entertainment , “That was 30 Years Ago” comes across as a fond recollection of times gone by, a form of nostalgia that seems to puzzle one when young but gets a lot of attention later on in life, revisiting moments of emotional impact, generally always positive, something that music can provide in torrents of easy flowing memories. A nice Floydian feel on this send-off , a perfect finale.
5 found harmonies