MILLENIUM

1. The Sleep of Reason Produces Monsters on a tone of IQ, ARENA, ALAN PARSONS PROJECT for the melodic side; the synth is the centerpiece even if Ryszard knows how to be discreet while Piotr does not hesitate to let go of his strings; final flute à la BELIEVE 2. To Err is Human at the solemn entrance, starting on a US pop rock of yesteryear, fresh, to be played on the radio; a sax amplifies the period concerned, Łukasz in action flirting with that of SUPERTRAMP; the synth now then back to the sax for the 4-minute instrumental cut off sharply by the vocal and his acoustic guitar; it is very melodic; a little water and 3. A Man is a Wolf to Another Man appears, without the teeth out; flute, organ, pop rock air on STYX or BARCLAY JAMES HARVEST, beautiful references; the pad rolls to keep the energy. The guitar solo as a final highlight, Gilmourian before giving way to the twirling keyboard then to the flute, in terms of orchestration it is well provided 4. Memento Mori with its waves, solemn piano arpeggio and its slobbering flute, vocal and monolithic tone; consensual piece based on the crescendo and the guitar solo spinning in symphonic space; the solemn à la BJH in the background with these demonstrative pads and the length of the melodic title.

5. Rise Like a Phoenix from the Ashes intro à la MEAT LOAF, yes a grandiloquent piano for me that's it; guitar solo before the consensual melodic title lacking the little more progressive 6. Hope Dies Last with always the aqueous start; a battle between the clear piano on the right and the acoustic guitar on the left, like in the time of PINK FLOYD; the imprint remains on a soft melancholy of the BJH; halfway through and the break introduced by a very airy Mason pad then the guitar which comes to give a little shivers; the very pleasant final in repetition before the aqueous and vocalized outro 7. Carpe Diem keyboard worthy of the 80s evening in hard FM or in new-wave, a blend of the two; a little regression for this catchy vintage title; always on the same melodic framework which can bother after a while 8. What Does Not Kill You Makes You Stronger ... as more nervous for the rhythm, on a boosted BJH, David excelling on the voice; a beautiful title without too many waves with a beautiful cinematic outro on the last two minutes and the return of the sax worthy heir of the 80s, the loop is closed; a little wave and... 9. Hidden track the hidden title, waves and piano to end gently. Long pieces mounted on crescendos with progressive and melodic breaks and developments for an old-fashioned symphonism, good for regressing. (3.5).

Twenty-five-year career in Prog and still going strong, I see Millenium in my imagination like a company of the famed winged hussars, ready to charge fearlessly into battle with courage and determination. This is their 18th studio albums of which I proudly own twelve, and all are pretty consistently tasty throughout, supplying a thoroughly honed neo prog style. The line-up has remained centred around keyboardist Ryszard Kramarski, with Peter Plonka on guitars, bassist Krzysztof Wyrwa and Grzegorz Bauer taking control of the percussive kit. Longtime singer Lukasz Gall has left a while ago, as this is his replacement David Lewandoski's second album on the lead vocals. Needless to state these are a highly polished crew (excuse the obvious pun) that have tremendous feel for their craft. Many of the song titles reflect on the country's legendary painful history, a collective/personal trait I particularly enjoy and can relate to.

The oddly titled opener "The Sleep of Reason Produces Monsters" settles in with a comfortably numb groove that confidently prepares the stage for a story, expertly sung by Lewandoski, where swirling keyboards, slashing riffs and a tight rhythmic propulsion keeps things attractive and tight. The fretboard solo is a tortured rant, beseeching and pleading in desperation, definitely a highlight, as the piece fades into the horizon, a fluttering flute and serene keyboard orchestrations wave goodbye, surely a reference to the evocative covert art. No holding back a second on the limber follow up "To Err is Human," a teeming saxophone leading the advance, suave piano tinkling moving in and out of focus, and another Plonka flurry. The guzzling organ repeats the theme with authority when deemed necessary. An acoustic guitar introduces the vocal, elevating the song to a comfort level, as the instrumental prowess is uncontested. "A Man is a Wolf to Another Man" is simply structured, strait- laced with a hummable chorus and a classic extended e-guitar solo that opens up like a parachute. Mastering melancholia on the piano is a Polish characteristic and "Memento Mori" does the reputation justice, a sorrowful lament with a sensitive multi-tiered vocal, sumptuous flute and a solemn rhythmic surge, quite the gorgeous ballad adorned by a persuasive melody, as well as an imperative guitar solo. Lovely track indeed. Time has the authority to provide twists of fate, whereby something can be lost through defeat, only to resurrect at a later date, if the resolve to never surrender remains strong. "Rise Like a Phoenix from the Ashes" is an appropriate essay on changing fortunes and the unwillingness to kneel before forfeit. Survival is the main instrument, faith, and courage, not far behind. A battle cry anthem, in triumphal body armour, impervious to weakness.

The title track is a piano/vocal duet at first, a love song that recounts the 'story of my life' and as such segues nicely with the previous track, the deliciously serpentine Wywra bass doing wonders, as it massages the heart and seduces the ears. Midway through, the symphonics kick in, offering rolling toms, prickly guitar picking and a profound emotional release as the serenity takes over the dread, fear replaced by fortitude. The melody if off the charts exquisite, searing deep into the soul. Seizing the day, "Carpe Diem" follows suit, urging the will to battle, a hymn to never let go. Lewandoski really shines throughout this album, but also his tone is utterly convincing. The powerfully tragic "What Does Not Kill You Makes You Stronger" shines a sorrowful light on the plight of thousands of needless casualties, have we not yet learned that war solves nothing. Borders waver, eventually returning to their original places, and in the meantime, way too may have died for nothing, families forced onto a 'Ship of Fools.' Senseless, useless, and stupid. Soldiers killed by deadly toys. This magnificent track hits the mark. The JFK snippet is food for thought.

As a senseless three-year war continues to rage nearby in the eastern borders of Europe, the suffering just needs to end now.

4.5 epochs of optimism

Over the years the band has experimented with bringing in a saxophonist on various albums, and here the quintet of David Lewandowski (vocals), Piotr Płonka (guitars), Krzysztof Wyrwa (bass), Grzegorz Bauer (drums) and Ryszard Kramarski (keyboards, acoustic guitars) have been joined by Łukasz Płatek (flute, tenor saxophone) to add nuances here and there. This is the second album with David on vocals and it sounds like he is starting to settle in and understand his role in the band as he certainly has much more confidence. Of course, the rest of the guys have been playing together for years, and it shows. Ryszard has allowed himself to bring in some nice old-style organ sounds here and there which definitely add to the ambience, while Piotr continues to demonstrate his love of providing proper rock guitar when the time is right with solos and styles which would to be out of place in a much heavier setting, but somehow are also quite right here.

One of the highlight is "To Err Is Human", where the drums keep changing pattern, the fretless bass is massively complex and warm, we get rock guitar and acoustic strumming, piano, dated keyboards and modern, all which build to a climax where everything drops away and the vocals are very much front and centre. The sax adds some nice touches, but is also absent for large parts, and this feel very much like a band who know exactly what they want to portray and understand just what they need to do to get there. There is a definite polish and refinement in everything are doing, and eighteen albums in they are showing no sign at all of slowing down as there is the impression this is a band with still a very great deal to prove and are enjoying being at the top of their game for more than two decades. In many ways this is one of the most enjoyable albums I have heard from the Polish proggers who continue to wave the neo prog for all to see, showing it is very much a thoroughly enjoyable sub-genre of the scene, even though there are still purists who look down their nose at it.

If you have yet to come across Millenium then this is a very good place to start indeed as it is packed with finesse and style

— First review of this album —

Easter 2023 saw the 'Progdreams X' festival, held at De Boerderij, Zoetermeer, Netherlands. One of the highlights on the second day, which was headlined by Solstice, were Millenium who have now made their set available in different formats. I only have the music, so cannot gauge how good or otherwise the visual aspects were, but have heard various complaints aimed at singer David Lewandowski (who was obviously having problems hearing himself from what I have read) and the statuesque pose of bassist Krzysztof Wyrwa, but if that is all people could find to complain about then it shows what a great set they were playing. The rest of the line-up of course was Piotr Płonka (guitar), Grzegorz Bauer (drums) and Ryszard Kramarski (keyboards). Any band who has been as active as Millenium will always find it difficult to please everyone in terms of song choice for the set, and out of the 12 songs five are from the latest release, but given that is the only one which features David one can certainly understand why.

Personally I would have loved to have been in the audience as the rhythm section definitely shines ? "Light A Cigar" particularly showing how they can groove and change things around, while Ryszard always keeps things nice and tight. Piotr fully understands his role in the band and there are sections where he sits right back in the pocket to allow everyone else to shine, and then he comes in with searing solo and crunching riffs to remind everyone that here is a rock band. David has a very pleasant voice, wonderfully melodic, and while it may not contain as much emotion and passion as some, this is not a band who have ever played a great deal of live shows and I am sure everything would be taken up a notch if there were more gigs in their future. According to a review, quite a few of the crowd left after their set, which demonstrates just how much they are revered in Holland and rightly so. Yet another wonderfully solid and totally enjoyable release from the Polish masters.

I am very fortunate in that I have heard a great deal of Millenium over the years, and see I have 12 of their releases on my shelves. For the vast majority of their history their singer was Łukasz "Gall" Gałęziowsk, but he left after their 2017 album '44 Minutes' and was replaced by Marek Smelkowski for 'MMXVIII', which prior to this was the last album I have heard. I am not sure what happened then, as Łukasz returned to sing on a Millenium album in both 2019 and 2020, Marek sang on another Milennium album in 2020, before come to this 2022 release which features a new singer in David Lewandowski. At least the rest of the line-up was stable, with Piotr Płonka (electric & acoustic guitars), Krzysztof Wyrwa (bass), Grzegorz Bauer (drums & percussion) and Ryszard Kramarski (keyboards, acoustic guitars).

Poland has long been a hotbed of progressive music, with Millenium being at the forefront since Ryszard formed the band more than 20 years ago. Unlike many prog acts, who no longer release many albums ( I am not going to name any, but there are plenty out there), Millenium have been wonderfully consistent both in their output and their very high quality. David has very clear unaccented vocals, and if one was listening to this without knowing who it was then one would probably guess this was a British band, and definitely not one from Eastern Europe. Grzegorz and Krzysztof can always be relied upon to provide a strong foundation, Ryszard switches between banks of sounds and lead melodies, while Piotr is obviously a metalhead at heart and provides plenty of crunch and dynamic solos, showing there is life in the neo prog genre yet. There are times when they can be quite Floydian, but his guitar always takes them in a quite different direction and right from the introduction of the title track one feels we are being taken on a symphonic bombastic journey with very powerful production as the keyboards lift and the guitars shine.

Highly melodic and inventive, this is yet again an album where the listener is brought inside from the very first play and finds a great deal to enjoy. Another wonderful addition to the collection ? 17 albums to date and plenty more to come.

"44 Minutes" from 2017 is the twelfth studio album by Polish neo-prog band Millenium and there is something rather special about this album. In Ending Titles, the bonus track added to the CD release of the album, singer Lukasz Gall says goodbye to the band and its fans after 18 years of loyal service. A year later a new vocalist is presented and the very next year Gall is back to the old nest. In any case, this has a melancholic effect on the album.

On "44 Minutes" Millenium presents itself as a six-piece, which means that saxophonist Dariusz Rybka and drummer Grzegorz Bauer have been promoted from guest musician to permanent band member. Together with keyboardist Ryszard Kramarski, guitarist Piotr Płonka, bassist Krzysztof Wyrwa and the aforementioned Gall, they are responsible for that flawless band sound. In that respect, do not rule out the contributions of guest singer Karolina Leszko. Her voice blends beautifully with Galls and occasionally throws in some lead vocals as well. So she really does a bit more than just some ooo's and aaa's in this Pink Floyd-tinted music. Enough about all those tongue twisting names, on to the songs.

The somewhat timid The Colors Of My Life sets the album in motion, or rather: the sparkling guitar at the end of the song does. After that all bets are off and we are constantly immersed in the bath called Millenium. Songs like Liferunner and Are We Lost? are not only melodic and full of harmony but also nice and rhythmic and rich in atmosphere with beautiful instrumentations. The album also has two almost instrumental songs. In both Calling! as well as Lost Teddy Bear there are some vocalizations. Both songs are compositionally sublime as each passage is smoothly followed by the next. The keyboard parts in Calling! are unmistakably done by Kramarski and the guitar theme in Lost Teddy Bear is also characteristic for Millenium. That full guitar sound of Płonka is delicious by the way and is just like on most of the band's albums abundantly present. Millenium always comes up with some longer tracks. For example, My Father Always Said and the title track both clock above eight minutes which is not a second too much. Millenium always knows how to dose perfectly and never comes up with an unnecessary note. A good example of this is Rybka's saxophone playing. He could easily play a lot of runs, instead he plays neatly in the service of the music.

"44 Minutes" is a controlled, somewhat well-behaved album, but it is Millennium all over again. For 44 minutes all is fine and dandy until the bonus track arrives. I would like to add that the solos at the end sound like Kramarski and Płonka have given a musical thank you to the departing Gall. In any case, that would be extremely justified. How great must have been the joy when Gall returned two years later?

Orginally posted on www.progenrock.com

During the years Poland has turned into a very prolific prog country, from Collage, Quidam and Satellite to Moonshine, Believe, Osada Vida, and of course the outstanding and very popular Riverside. Another interesting band is Millenium, a five piece formation that has released 18 studio-albums, 1 live album, 2 live DVD's and 7 compilations between 1999 and 2022, an incredible amount! This effort entitled Tales Of Imaginary Movies (total running time around 50 minute) is from 2022. Singer Lukasz Gall has been replaced by new member David Lewandowski, from the Kramarski Project.

On this album Millennium delivers 7 tastefully arranged, very melodic and harmonic compositions, often in the realm of Neo-Prog but also more AOR oriented, from mellow to bombastic, with the focus on strong English vocals with lots of emotion and compelling guitar work, often reminding me of David Gilmour (Pink Floyd).

The more dynamic and varied tracks are Invisible Superhero (huge tension, between mellow, slow rhythms and bombastic eruptions, embellished with inspired vocals and intense guitar), the wonderful ballad Brightness Hidden In The Dark ( from dreamy piano and vocals - in the vein of Roger Waters on The Wall - to halfway more lush and powerful sound with inspired vocals, and in the end moving guitar soli) and Memories In Tears (featuring emotional vocals, Mellotron-flute like keyboard sound, howling guitar leads, and finally heavy and biting guitar solo).

The song Second Earth contains a dreamy climate, tender vocals and piano, wonderful strings, the sound is intense with a melancholicy undertone, a bit dark but beautiful.

The most accessible compositions are A World Full Of Spies (rock guitar, tight beat and a harder-edged sensitive guitar solo), A Comedy Of Love (in the end a fiery wah-wah drenched guitar solo with sumptuous keyboards) and The Sounds Of War (catchy beat, rock guitar, vocal harmonies, halfway and in the end moving guitar soli).

And finally the two-part title track Tales Of Imaginary Movies, part 1 (The Opening Credits) with majestic keyboard layers and howling guitar runs, pretty compelling, and part 2 (The End Credits) atmospheric with again howling guitar.

If you are up to accessible and modern sounding prog with the focus on strong vocals and moving guitar work, I am sure this album will delight you!

My rating: 3,5 star.

Millenium, a group born in 1999 that needs no introduction with Ryszard at the helm, released their 17th neo- prog album there; nothing new but flawless, with a new voice, David and his warm refrains quickly remaining in memory; marked solos ranging from Ryszard's keyboards to Piotr's strings; more symphonic, more emphatic with the sick world. A style originally on Pendragon, Collage, IQ or Pink Floyd, now a clean, clear and intense sound. A story about David seeking a film role.

'Tales Of Imaginary Movies (The Opening Credits)' and one of the most beautiful symphonic intro heard, quickly assimilated; juicy guitar, heavy, haunting synths and a finale that strongly reminds me of Ayreon! 'Invisible Superhero' continues on a consensual tempo eyeing the 70's heavy prog, the 80's fruity; 1'30'' intro before David adjusts his voice, reminiscent of Barclay James Harvest; soaring air, backing vocals and Piotr with his warm guitar; between the melancholy sweetness of the cinematic synth and the explosion of the chorus-hymn; the guitar solo that comes out sends very high, much more than at the last concert, perhaps badly placed in the room in short 'A World Full Of Spies' still continues on these footsteps and an agreed rock tune; Eloy, BJH again, tight beat that stays in the head quickly and solo that still tears; soft solo break of the keyboard, a second more choppy then the bewitching guitar; AOR melodic piece in the genre. 'Brightness Hidden In The Dark' the footsteps recede and the air goes on a remake ballad; catchy melody where the specter of Pink Floyd 'The Wall' emerges; David directs his voice to a more bewitching aspect, a bit of Queen, of Kansas on guitar, a bit of 'The Trial' behind; air that sweats with emotion and memory; break with shots in the distance and the last guitar solo that reminds me of Eagles'. oh how beautiful

'A Comedy Of Love' title AOR which denotes, mat with a dynamic flute, it smells good of the 80's and the solo flows like a Mark Knopfler; the soft voice that rises before Piotr lets go of the watts and sets it on fire, a bit of Toto, of Sniff 'n' the Tears. 'The Sounds Of War' online with the chopper; Irish tune with flute, more syncopated drums; pop rock with a progressive declination; association between a gripping beat, the suave voice of David and the soaring guitar vibrating, oozing, spleen proven. 'Memories In Tears' pastoral melody, cinematic tune of 'Rencontres du 3e Type', Piotr setting fire from the start; David launches the tone on a languorous atmosphere, the keyboards raise the air between Genesis and a BJH; simple then it rises, it howls, the military battery adds to the solemn side; the guitar comes to reinforce the rhythm tearing the air then 'Second Earth' arrives, sad end-of- war melody, melancholy piano accompanying David and symphonic violin synths for the last chance, the disturbing Game Over. 'Tales Of Imaginary Movies (The End Credits)' hovering in cover, riff ' la Ayreon, the Iron Maiden of 'Seventh son', like the English guitar of the 60's, like a few notes from the Telephone... my wife passes by there ; it rises, dantesque, grandiloquent, sublimely symphonic. Piotr makes his strings howl, Ryszard his keys!

Millenium has changed singers but the Kramarski framework continues to deliver melodic albums that are easily accessible, perhaps too precisely; a dense orchestral component, endless floydian flights, various reminiscences offering a good summary of what prog has done best.

Millenium has released many albums over the years, but this is actually the first I have had a chance to listen to. I am very glad I did! "The Sin" was a welcome surprise for 2020. I'm not actually sure this totally qualifies as "prog" in the strict sense, but I would put it as Crossover or Prog-Related. This 7 song cycle is very enjoyable and I have listened to it many times in the past few weeks. The highlights are LUST, GLUTTONY, SLOTH, and GREED, with GLUTTONY and SLOTH being my favorites. The musicianship is impeccable and the singing top notch with great melodies and harmonies. I am currently working my way through their back catalogue of releases in search of more gems! Unfortunately only a few are on my Apple Music. Not a perfect masterpiece, but "The Sin" is a solid 4. An excellent addition to any music collection!

Millenium we no longer present them, they are releasing their 16th album there on an interpretation of the 7 deadly sins focused on power-hungry politicians getting out of control. Trendy idea this year but so real unfortunately. A neo-prog album without much novelty but flawless with a voice, the voice of Łukasz and its catchy choruses which are quickly remembered, more marked solos ranging from Ryszard keyboards to Piotr strings; the caricature cover of Marek Szczesny clearly indicates what it is about.

"Pride" and a little progressive intro, that's good, a melody with bewitching chorus, Floydian instrumental passage especially for keyboards, a tune that literally plunges into the atmospheric neo-prog of the precursor Arena, a heady tune that is embedded in your head from the first listen. "Lust" goes on, I like the titles that follow one another, with an imposing slower tempo, the voice of Łukasz well in the neo lineage bringing in fact flights of soft keyboards of Ryszard whose recognizable touch and guitars juicy just after an angelic break, simple but effective with a touch of symphonism; and "Wrath" arrives for an intimate guitar solo then a rhythmic and symphonic, metronomic and airy riff, setting the title up to a gentle interlude; the duet voices give more intensity then a greasy final solo from Piotr gives a good impression of the neo; health! "Gluttony" and a Jethro-Tullian flute (original or sampled) on an oriental base, sends us on a more intimate piece, IQ or Arena are there in thought; the suddenly, soft, velvety Pink Floyd synth of the late Richard Wright and then the guitar that has been missing in recent times in progressive achievements. Robotic snack then a final duo. "Sloth" and a ballad, delicious and basic piano at the start, suave voice, synths at first that make you leave, guitars at the second train for a more languid tempo bordering on spleen for one of the pieces at the start. both the simplest and the most moving, return of the piano at the end. "Greed" continues with the hit title in my opinion with the first one, more energetic and also more conventional, Ryszard's keyboards playing with the strings of Piotr, a melodic title agreed a little behind. "Envy" comes to end this concept album, it must be said, with a soaring slide guitar, crystalline, aerial a la Chris Réa too little known him or Mark of Dire Straits; in short, longer song, more sensitivity, slower rise also with long-awaited breaks, Ryszard synths forward as well as an acoustic guitar until the apotheosis prog as it should be with Piotr's guitar solo more emotional, more explosive than the others. Millenium is releasing the ultimate record here, almost hits for each title, a melodic, fruity rhythm as I like to say, an allegorical journey to talk about pride, greed, lust, envy, gluttony, revenge and laziness. It reminds me a little of the group Mystery which managed to synthesize the substantive progressive marrow, a simple but terribly effective album, not technical in itself but amplifying the melodic side and pouring into atmospheric climates.