Multi-instrumentalist Ryszard Kramarski, FRAMAURO, MILLENIUM and THE RYSZARD KRAMARSKI PROJECT is a very prolific and active musician, composer and record label owner (Lynx Music)
Here, as clearly defined by the band’s name, Ryszard joins his son Michal in creating a sterling follow-up to the self-titled debut album in 2025 that I have purchased and enjoyed but did not yet review . His usual TRKP session-mates are trusted collaborators, and they are as well-seasoned as it gets: guitarist Marcin Kruczek and the amazing rhythm section of Krzysztof Wyrwa (bass) and Grzegorz Bauer on drums and percussion. Stylish and futuristic cover art always helps in appreciating the tone of the music offered, that is only slightly more accessible than the Millenium or TRKP material, relying mostly on incredible melodic content and silky instrumental accompaniment, at times quite reminiscent of Canadian artist Rick Miller.
“The Shadowed Introduction” easily sets the mood, with Kruczek’s languorous guitar weaving a distressed lament that flows straight into the title track, a rock-solid tempo that forcefully creates the foundation for the quintet to explore our current dilemma of overbearing social insecurity, depression having taken over from the usual mortality suspects. Michal’s hushed voice is expressive and resonant, the axe solo achingly medicating and a sonic delight. The lyrics are a bitter pill to swallow indeed.
Choosing a more down to earth and realistic theme, “Dreams are a Waste of Time” has that velvety swoon once heard on Roxy Music’s classic Avalon track, the vocals two steps away from Bryan Ferry ‘s cool delivery. Ryszard lathers a silky synth burst that soothes all the pain associated with facing truth. As nature keeps fading from our reliance on false technology (we are supposed to communicate better in a world where no one connects fully, or even bothers to answer), we dig our own grave alone with a shovel. No one really gives a damn.
The “We Didn’t Suite” comes in 2 parts , sandwiching two other tracks, a more straightforward piece that harkens back to Pink Floyd’s angrier themes (“Run like Hell” comes to mind), Kruczek unleashing furious electric tirades that scour the deepest recesses of the soul.
The stunning “Hachiko” has a “In the Air Tonight” beginning, as Michal laments the coldness of indifference, where machines are not able or even willing to emote honestly, offering only a historical mumbo-jumbo of pseudo-opinions. And we can always blame the programmer. What about love, devotion and surrender? The plaintive guitar shames the fake artificiality of it all.
The 70s and 80s were the two best decades for social awareness, artistic endeavour, fashion, discovery, and even music. “The Magical 80s” is a reflective ode to nostalgic time, where life ‘s occasional difficulties were resolved with a yearning for a better world , a feeling particularly strongly felt in central and eastern Europe, where dictatorship was about to crumble. The wobbly guitar tornado recalls the sudden collapse of a massive wall that kept people in (as opposed to protecting them from outside evil)
“We Didn’t, part II” closes the historical parenthesis, a coming of age that underlines the notion of complicating our life with negative thoughts becoming comfort zones (bombarded today on a daily basis with social media, addictive doom and gloom seemingly sells). It’s a choice, the glass half full syndrome, do I want to smile or cry, should I be happy or remain despondent ? The promised land is found in the heart and soul of every human; it just depends which switch is on. Musically, the band opts for a positive outlook, flushing away the overbearing opinion-peddling that is plaguing our lives.
The hyper-groovy “Where Do We Go?” is the first question between Eve and Adam, wondering if Eden is really paradise or not. We continue to probe the same query, never fully able to grasp that getting along is harder than hate but so much more rewarding. There has always been a swinging pendulum throughout history, flux and reflux. One step forward and two steps backs. One thing for sure, eternal conflict solves nothing, sombre agendas and failed politicians have not succeeded in creating what they promised. Ryszard’s excellent piano playing has a positive vibe that is intoxicating (that is what big pharma should be selling).
And here we get to the crux of the matter, “The World without Hate” the perennial fight between truth and lies, light and darkness, the universal theme since ‘creation’ (in whatever guise fits your beliefs). There has been a lot of ‘dark’ prog releases lately, but I did notice that almost all offered a final cry for hopeful resolution. It’s not a corny strategy to get more likes or followers but simply the only hope for salvation. Michal’s evocative vocals really hit the inner ventricles of the heart, the guitar blood boldly flowing through the veins, uncluttered and defiant. The final plaintive voices are sheer unadulterated panacea.
A fascinating musical statement that should not only open ou eyes and ears but challenge our self-destructive reliance on outside artificial sources for contentment.
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