Ryszard Kramarski is surely one of the most prolific prog composers out there, fronting a slew of bands through his label Lynx music in lovely Krakow, namely Millenium, Framauro, Fatherson, Fizbers, Strange Pop, as well as his TRK project, adding producing, engineering and mastering many if not most prog artists in his country to his list of achievements. Does he ever sleep, one may ask?
Right on the heels of Millenium’s splendid ‘The Lost Melodies’ album and recently reviewed ,here comes another Polish cavalry charge (a legendary local specialty) that deserves some attention, the entire Millenium crew being on board for this one, with the added input of official TRKP guitarist Marcin Kruczek who also seems to be around in the other side projects, while former Albion/Hipgnosis singer Ania Batko, Domenika Niebudek, Marek Smelkowski, the perennial Lukasz Gall, and son Michal Kramarski (Fatherson) all contribute on the microphone duties. Alice is definitely about Wonderland, and what an epic voyage this will be into a familiar fantasy land!
Many know this tale of enchantment as it’s a classic bedtime story to boot, suffice to say from the opening note taking one down “the Rabbit Hole” to the finale “Through the Looking Glass”, not a single second of the 63-minute running is wasted on filler or decorum. Respecting such a grandiloquent classic requires only pure unadulterated enjoyment, as the tale unfolds, very much like a prog opera, on some red velvet-draped theater stage, with acoustics that have survived the turbulent test of time and history.
Guitarist Piotr Plonka grabs the Rabbit melody by the throat, once Ryszard has opened up the proceedings on a Chopin-like piano etude, slashing robust chords that sizzle, fizzle and drizzle without detachment, a pounding overture that has Lukasz introducing Alice and her imminent otherworldly adventure, the overall throttling velocity characterizes the tumble into the abyss of time, encouraged by some thunderous rhythmic pulsations from both Wyrwa and Bauer. Welcome to the show!
“The Mystery Cat “ refers to that Cheshire feline, a prefect set-up for Ania’s amazing childlike tone to glide over all the breathless consequences, giving Kruczek the freedom to show his skills, all wrapped in a gloriously bombastic melody that soars to imperial heights , Michal entering the duet with his demonstrative vocal.
“The Mad Hatter” gives Marek the opportunity to express his commanding voice to the mix, a harder-edged hue that invites Alice to the party, juddered by a dominant Bauer beat, sliced apart by some razor sharp axe phrasings and as a final coup de grace, Kramarski daring a classic keyboard reflection that some will recognize dizzying saxophone intervention from Platek that adds fuel to the already intense blaze.
Then comes the album’s absolute jewel, “The Queen of Hearts” has an immediate appeal, a ‘you just know this will be magic’ melodic set-up that the phenomenal Ania aces like a pro, swooning like a diva, in full control, easily among the finest vocal performances of the year. The ornate piano adds a regal tone, setting up a whirlwind axe vortex that would make Rothery and Hackett smile in approval, especially the final acoustic tour de force. Musical magic.
Electronic shadings pave the way to “Ask the Way to Find It”, the acoustic guitar hanging around long enough for Lukasz to emote like he has so marvellously for 2 decades now. The mood is inquisitive, mysteriously flavoured by wherever the road leads, the chorus comforting, urging prudence and let fate guide Alice along the yellow brick road. The fretboard solo yearns for higher passions to come, and the arrangement reverts to its early beginnings.
“Off With Their Heads” has Batko and Niebudek combining to unleash another urgent effort, even though the subject matter is rather gruesome, their voices remain defiant and courageous, invariably stimulated by a brassy sax solo that can only add attention to the tension. A dramatic moment that would surely be a live theatrical treat for the eyes and the ears. An overwrought guitar sortie nails the coffin shut, a bouquet of flowers tossed into the grave.
The energy is sustained on “ The Game”, Marek utilizing his thunderous voice to match the mood, the pace convincing and unrelenting, indifferent to wasting time and forage forward . Ryszard provides the synthesized sheen needed to turn this into exalted bombast, helped along by the rhythmic assault that knows no surrender. Another Kruczek twirl, adding careening twists and turns, like a race car with smoldering tires.
Sweetness and fragility combine on the anthemic “Alice in Wonderland”, it was all but a dream, flush from trepidation and disbelief, reality shows a different outcome, Ania’s voice one of relief and resolution. The choir work is grandiose and stately, the magical guitar emoting mightily, at times shrill and pained, yet still enormously hopeful. Another monster track, with a melodic hook that cannot fail to impress.
Acting more like an epilogue , “The Two Alices” may therefore come across as the first of two encores that would be the norm after such a colossal performance. Domenika has an equally addictive voice, and handles the dynamics required with aplomb. The track is simplicity incarnate, the voice and the melody in the spotlight, a thoroughly enjoyable breeze, swept along by a rolling organ and a serene rhythm. One additional guitar detonation, just for good measure. Yes, please!
The brooding “Through the Looking Glass” has the added pleasure of delivering a gigantic duet between the two ladies, both crooning with delight, the soft organ shouldering the weight of the adventurous spirit, forever hungering to find new horizons. Kruczek cannot hold back as he empties out his soul on his trusted guitar, the tome insistent, devastating and spent. This magnificent finale brings down the curtain for good, as the ensemble hold hands as one and bow to the respectful audience. The response cannot be other than rapturous and well deserved applause.
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