THE GREAT LIE

THE ADEKAEM is the Polish duo founded in 2013 of Andrzej and Krzysztof who are inspired by psychedelic progressive rock, releasing their 4th CD here with a few big names like Marcin STASZEK from MOONRISE and Krzysztof WYRWA from MILLENIUM, Jakub BASOŃ taking care of the lyrics. An opus with space flights, heavy breaks, fluid melodies and some Latin-jazzy derivations; area where the synth is king accompanied by guitar solos reminiscent of PINK FLOYD, CAMEL or MARILLION and its characteristic neo prog. Posed art-music leading to territories, grandiloquent climates as we are going to see.

"Woodland Frolics at 3 AM" and a grandiloquent, half-neo, half-psychedelic instrumental opening on CAMEL, COLLAGE; a composition where the symphonic is linked to the electric guitar as on PINK FLOYD with WRIGHT; there is even a little KITARO at a brief moment of slow spatial atmospheres guided by majestic synths, a recent return to what made the strength of neo in particular with the musical delusions of PENDRAGON. "The Tightrope Walker" follows, PENDRAGON always with its acoustic intros, it vibrates, it sparkles, it rises slowly on a sensual synth; Marcin's calm voice leaves the oriental break, Andalusian, hypnotizing and crystalline; the crescendo on the bolero of RAVEL a fleeting time with guitar and synths, then the amplification of the sound by a well-placed pitch bend, I detect PINK FLOYD, not RUDESS with his keyboards that he likes to torture. "Fool and Death" continues by joining an expressive, fiery guitar and a fat synth that makes you forget the vocals; Cuban percussive break and its heavy rock riff just to bring a planing variation where the melancholic keyboard responds to an acoustic guitar solo in the tradition of the best CAMEL; we melt, we regress to the 70's with these characteristic vintage sounds. "The Fall of Phaeton" comes and breaks the frame by surfing on an energetic Latin swing rhythm; the voice denotes too tight, too choppy; luckily, the chorus goes better and what about Krzysztof's enjoyable, symphonic guitar break, ready to make you shed a tear; the Latin South American side is a nice surprise.

Three-part "Luminous We Are" with a vibrant intro reminiscent of DREAM THEATER, it's pure, clear, crystalline and meditative. 3 minutes and the sweet air surprises, the built-in voice limit phrasing works best here as an addition to another instrument; Intimate and Andalusian Floydien break, jazzy, you can feel the reminiscences of the masters, the bass here excels; final more enlightened jazz-rock with an aerial synth bringing freshness imitated by the limpid solo on the guitar, the synths coming in bidding. "Sacred Geometry" hymn intro then addition of a surely synthetic violin, repetitive monolithic tune like a ballad of the mandarins at the time of the Mellotron, an interlude track with a high female voice in the background; That's it the long-awaited tune goes well to China with these recognizable bells, yet another singular title that avoids getting bored and takes it easy. "Spontaneous Combustion of Ego" follows, disturbing bass, the synths set off on the drifts of KING CRIMSON on "Red" in particular. The fat guitar strikes the final blow, musical dread gives way to a desperate, austere, aggressive air; the flute recalls ART ZOYD and his research in contemporary music. The tortured Crimsonian side then explodes with a dreamlike hypnotic crescendo, mischievous but inventive; the Mellotron with celestial choirs gives a creative, varied finale that does not limit the group to a defined drawer, proof of its quality. "Still, Constantly" given its short title smacks of nostalgic ballad with piano at first; Marcin and Martyna in a duo sing to a characteristic neo tune, the guitar supported by keyboards making the link; a simple title that rests. "The Great Lie" percussion in entry, a TOTO tune for a moment then the spleen guitar with its pedal responds to the voice firmly in place; it is almost lamentation, melodic and contemplative; a COLLAGE break with its soft synths begins to melt, Krzysztof's guitar gives a layer on a slow dreamlike declination; sumptuous finale with a symbolism of fireworks.

THE ADEKAEM has surrounded itself with guests to release melodic compositions where the harmonic remains the basis, bringing certain stylized atmospheres. A disc colored by the musical surges pouring over certain dark and austere regions, an album to listen to several times by its diversity, its commitment to synthesize a number of musical modes, a very good album in fact.