HOPE

Crossover, ethnic, symphonic, singular world prog, colorful, eclectic music shaking up traditional progressive codes.

'Hope Is' starts heavy on a gritty riff, soft synth to round out; Marta imprints the Amarok touch, the nervous-space side and the vibrating synth; heavy, heavy and hovering like a remake of Hero but stronger on The Gathering; slide guitar solo full of emotion for a countdown finale. 'Stay Human' melancholic, bucolic sensation, that of Anathema, repetitive sweetness to enter the album; break with the theremin to captivate and restore rhythm, one of those explosive with tribal percussions; to headbang in 2024 in an 'overloop' way. 'Insomnia' southern slide, Scandinavian, take your pick; stretched guitars, cozy atmosphere, melting marshmallow; murmured backing vocals, violin; emotion in bar for the ballad and the Gilmourian guitar solo; the finale explodes in the vein of an indie rock The Gathering with Michal showing his vocal and keyboard talent. 'Trail' begins with Floydian percussion, trance rhythm, drum & bass the innovation is there; the soul of Jean Michel Jarre too; electronics invite themselves, Marta and the synths go to Oldfield and Knopfler; a blissful crescendo made for trance dreaming; the last part explodes, that's the word on these different titles: a controlled brutality of heavy, invasive, hypnotic sounds which makes you nod as if to finish this high-flying trail. 'Welcome' its cold wave in the distance, drums and Konrad on vocals, metronomic tune, the guitar eyeing more and more that of Ry Cooder; Orgasmic and aerial psyche-trance all at once with these vintage sounds like the Floydian keyboard.

'Queen' begins with a post-stoner tune, Kornel on vocals to easily build this track; languorous sound of Monster Magnet, Monkey3, the voice reminding me of the Smashing Pumpkins; the violin adds a melancholy plaintive layer with orgasmic ecstasy; final decrescendo. 'Perfect Run' instrumental with deafening synth bringing a syncopated, danceable rhythm, ready to go jogging; a trace of the Tangerine dream of the 80s, an interlude bordering on an enthusiastic Lunatic Soul, a tune that combines like a hypnotic repetitive tune. 'Don't Surrender' solemn piano, captivating voice, melancholy arpeggio, chorus overwhelming with its sweetness; the reverberating synth, the phrased voice laying out this title, a military ballad day of mourning; the sax solo ah non guitar warm, languorous, disturbing with a final crescendic rise.'Simple Pleasures' horses, piano, the air of contemplation oozes; title focused on ambient, progression, latency; Michal shows that you can do beautiful things with little.'Dolina' with his accordion on a typical Polish text; nursery rhyme worthy of a 'Gypsy Time'.

Great art-rock.(4.5)

Ever since their very first release back in 2001, I got hooked on this Polish band, enthralled by the incredible multi- instrumental talents of mainstay Michal Wojtas, particular enamoured by the three long "Fieldmour" tracks, which as the title aptly describes, is a Mike Oldfield/David Gilmour homage of the highest calibre. After 2 less than perfect released and 13 years of silence, we leap fast forward to 2017 with the stellar Hunt album, a quantum jump in quality immediately led the prog community to anoint high praise and critical approval. In 2010, The Storm and especially the glowing Hero album in 2021 just elevated further this tight band into sliding not far behind the beloved Riverside as Poland's finest prog band. With stellar backing in the form of bassist, violinist and cellist Kornel Poplawski, the percussive side manned by Konrad Zielinski and finally Marta Wojtas supplying voices and percussion, band leader Michal Wojtas refined his vision even more, leaving far behind those early Mike and Dave influences, as well as a brief tinge of Knopfler on the sophomore album. This album needs to be listened to in its entirety and in sequence, as it becomes intoxicating rather quickly and lasts to the final bitter seconds.

Armed with a tantalizing guitar riff and some spooky electronics that surely define the weirdness we currently live in, "Hope Is" shatters the apathy with a masterful exposition of modern prog and indicating the direction it should be going in the future, Marta's sung words of courage in the face of the darkest hours ahead provide some semblance of panacea. The rhythm section marshals a fair bit of ferocity, as Michal's hardwired guitar spirals into the skies above. Nice prog wake up slap in the face. Immediately addictive due to the repetitive "Stay Human" chorus, and pronounced charmingly as hew-man, the arrangement is dreamingly minimalist with the lightest percussion accompaniment and an equally resonant stinging guitar line. Eventually, the pressure builds up with careening synthesized sonics that sound like war sirens blaring, exhibiting a kind of looming doom that cannot fade away, actually revving up into a slow churning frenzy. A genius track that would have worked on a classic Floyd album of your choice.

Definitely a highlight, "Insomnia" slices through the soporific atmosphere where a mournful violoncello rakes the nerves, as sleep will not arrive regardless. The fear of the unknown is not exactly ideal for slumber. The lead guitar is wretchedly uncomfortable, a turbulent sense of dismay within the notes, as the brutal riff compounds the pain and the lead vocal cries out both scared, scarred and in dire need of relief. Absolutely terrific. Exposing strong electronic tendencies that set the tone for the next sonic horizon, "Trail" is an introspective voyage seeking understanding, perhaps even finding wisdom somewhere down the road, that clanging rhythmic pulse adding to the suspense. As the slide guitar scorches the path ahead, increasingly furious, and intense, the mood shifts to a sudden respite, a clearing where the danger arrives unannounced with frightening heaviness, recalling some of the finer Porcupine Tree onslaughts. I collapse exhausted. After such fierce intensity, "Welcome" is most refreshing, a brooding neo-gothic lament with Kornel Poplawski on the microphone, dark cloudy electronic orchestrations that add to the submissive nature of the arrangement. The second half relives the earlier vocal instrumentally, with echoing e-piano and screaming guitars, one can imagine a modern prog version of Bauhaus.

Another killer track (as if the others weren't), the sombre "Queen" is seriously disturbing, a funereal, dystopian, slightly deranged composition, where the dense music is heavily laden with doom and gloom, the anxious voice in abject surrender. The tortured axe solo verges on insanity, the zombie growls to be dreaded, the bass and drum in mortal ruin. The rambling nature of "Perfect Run" comes across as a scamper towards some kind of salvation, fleeing impossible dread and mental or physical invasion. The wandering tone is both positive and negative, as is typical with the human brain, always subjected to the extremes. A chugging train headed towards freedom but lingering pain at what was left behind, both unknowns that need to be confronted. The tragically overwhelming anthem "Don't Surrender" suggests that hope can only come by vanquishing the fear, replacing it with courage, determination and will power to carry on. Spoken words, surely prayers and oohing choruses offering comfort.I could not help to close my tired eyes and envision the immense suffering that has been going on in the Ukraine, for which this album could definitely be a role model. Perhaps some of us far away from that reality should stop complaining about their frivolous problems. Case in point, the album continues with "Simple Pleasures" the longest piece presented here and a fitting call for peaceful understanding that we all inhabit this blue planet, we breathe the same air, and we all hope, I said HOPE, for a better life for our children. Yes, it's a turbulent world where opinions override facts, where agendas overcome decency and respect, and endless glorification of self needs to be vanquished. When will we learn that hope is simply not enough.

The tragically simple "Dolina" reflects over the valley that lies ahead, sung in Polish and accompanied by solemn strings. 5 victims of our expectations

I was drawn to Amarok through HERO, which, although heavily influenced, had a couple of outstanding tracks that kept me intrigued. Roll on to 2024 and this outstanding album is clearly a band at the top of its game. It's apparent Amarok has been a platform for the multi-talented Michel Wotjas , however on this occasion it's clearly a band effort with all members having significant contributions. Both the bassist (come violinist and extra keyboardist) Kornel and drummer Konrad take lead vox on one of their own compositions, and they provide plenty of heavily lifting throughout. Ten outstanding tracks, all so different from each other, and with so many elements to each, although there's never too long to wait for a sumptuous guitar interlude, often slide. Michels plaintive vocals are suited, at times he reminds me of Kashmirs lead vocalist. Highlights for me are the brilliantly building Insomnia, the wrenching minimalism of Simple Pleasures, the driving force of Trail, and Stay Human (complete with E- bow solo reminiscent of Mercury Rev). HOPE Is the album which presents Amarok as a true band, more than just Michel and guests. Furthermore HOPE Is the album that raises Michel beyond more than a musician reviving memories of Gilmour and Oldfield Early days, but this is IMO the most exciting prog release of 2024.

"Hope" takes you on a spacious and engaging musical voyage, travelling between high-energy tracks and more mellow, thoughtful moments. Michał Wojtas, who's been making music in Poland for over 25 years, really knows how to craft a song. The production is top-notch, kind of like a Trevor Horn vibe ' big and epic but not overdone.

Right from the start, Marta Wojtas' powerful vocals grab your attention on Amarok's cleanly produced latest (7th) album, "Hope." Marta and Michał Wojtas are the husband-and-wife duo involved in this project, and Marta's voice is commanding, reminding me of strong female vocalists like those in Propaganda. Her spoken word parts and harmonies add much to the album, I honestly wanted even more!

The drums are tight and super tasteful, the lead vocals confident, and the guitar solos have a prominent role at times, soaring like something by David Gilmour/ Pink Floyd, and the bass lines are solid. Even the lyrics caught my attention, and I'm not usually one to focus on them too much. They're paired perfectly with the vocals, making each song a document of creative passion.

Like me you might catch a few musical references here and there ' even a bit of the Matrix soundtrack with some drum sample parts. Tracks like "Trail" really showcase Amarok's style, blending distorted guitars with synths for a raw, gritty feel. Then there's the instrumental track "Perfect Run," with cool melodies that reminded me of Alan Parsons Project, and the wild guitar solo on "Queen." There's plenty of compositional prowess here: songs take unexpected turns. Marta's hand-percussion work adds much to the mix.

Amarok's sound is covers a lot of territory. The guitars and bass are always present, but the keyboards always a key part of their footprint. Plus the odd violin solo. Topping it off, the album ends with "Dolina," a song sung in Michał's native Polish. It's a cool reminder that music is a universal language and that we can all appreciate songs even if we don't understand the words.

Amarok's been around since 2001. They started out inspired by bands like Mike Oldfield and Pink Floyd, but they've added ambient and folk elements to create something truly unique."Hope" is the result of 25 years of musical growth, and it's packed with ten creative tracks.

The prog dog score is 4 1/2 bones out of 5 on this very cool album. If you're looking for something new and inspiring to listen to, give "Hope" a spin. It's a polished, well-crafted soulful album full of power, emotion, and strong musicianship. Fave tracks: "Don't Surrender" with its beautiful soaring unique chorus and the instrumental track "Perfect Run" which is just perfect.

It has been more than 20 years since I last reviewed Amarok, when I heard their second album, 2002's 'Neo Way'. Back then it was Michał Wojtas providing all the music, along with a session drummer and four singers, including Camel's Michael Bass who sang on three songs. 'Hope' is the seventh album and is the second to feature a full band with the same line-up as 2021's 'Hero' with Michał Wojtas still there (vocals, electric & acoustic guitars, keyboards, percussion, e-drum) and joined by Kornel Popławski (bass, violin, cello, vocals), Marta Wojtas (backing vocals, gong, percussion) and Konrad Zieliński (drums, vocals). As I write this it is #8 in all albums for 2024 on ProgArchives, and #1 for Polish albums, as well as being in the top 20 for best Polish albums of all time, so it is certainly being ranked very highly by many.

I have personally always felt that the Polish prog scene is one of the best kept secrets around, with many bands never getting the full recognition they deserve, and while many Western progheads will know of Riverside, that really is just scratching the surface. Fortunately for me I have been involved with bands, promoters and labels over there for more than three decades, and it is no surprise to me that Amarok have come out of the scene with what is being viewed by many as one of the finest prog albums around and I can certainly understand why. Michał released his first album as Amarok in 2001, which was swiftly followed by two more before he took a break, returning in 2017 with 'Hunt', since when he has been again very active. While indicated as Crossover on PA, there are large elements of Neo as well, with vocals in clear unaccented English which are warm and inviting, often with long-held notes against a more staccato underpinning. This is music which is driving and forceful, packed with melody, never taking itself too seriously but always moving in ways which entertain and delight the listener with nuances and influences being brought in from diverse bands so one is never sure where it is going to lead.

There is a directness here, a refusal to just sit back and let the music wash over the listener, as while there were Camel influences in their earlier works here it has been taken in a different direction so while we still get plenty of guitar there is far less in the way of Latimer inflections. This is dramatic, in your face, with plenty of rock guitar, a drummer who is bashing everything in sight, some wonderful percussion underlays, strings which fit in snugly with the keyboards, bass which is always in your face, guitars which are far more rock focussed than widdly, and great vocals. Add to that some great songs and arrangements, and it is no surprise this is being viewed so very highly and rightly so. if you have yet to discover Polish prog then start here.

Amarok is a Polish band/project centered around multi-instrumentalist Michał Wojtas, who in the early years of this century released three albums featuring an excellent blend of progressive rock, folk, and ambient elements. After a twelve-year hiatus, Wojtas resumed his musical journey in 2017, immersing the music in an atmosphere-filled bath. Particularly strong is the 2021 release "Hero," which not only exhibits increased power in certain passages but also expands the lineup by two members, resulting in music that sounds subtler and richer in tone due to its greater use of instruments. Now, fast forward to April 5, 2024, when their brand-new album "Hope" is released. With this review, I aim to demonstrate how Wojtas and company have continued the encouraging trajectory set by "Hero."

Get ready. Wojtas, unafraid of a hefty production, truly blows you away. At times, there's a Riverside-like metal melancholy that won't please the neighbors. Pure bliss. Just listen to the ending of Insomnia, and your living room transforms into a prog-heaven of unparalleled ecstasy.

Actually, the album has you hooked from the opening track Hope Is. Fiery guitar work and pulsating keyboards provide the backdrop for the intriguing spoken word by Marta Wojtas (the wife of) and the lead vocals of Kornel Popławski. A pleading guitar solo concludes it all, solidifying the album's art-rock essence. Amarok creates music that grabs you and keeps you engaged. Casual listening isn't an option. Take Stay Human, for example, a track where not much spectacular happens on the surface. Yet, the flowing guitar, the powerful beat, and the creative nuances demand attention. Insomnia, as mentioned earlier, is a tonal rollercoaster. Initially, the guitar echoes Chris Rea's style, while later, David Gilmour-esque expressions adorn the canvas. Equally tasteful is the dreamy sound of the electronic piano that closes the song after the intense prog-heaven segment. Trail is also of such intensity, with percussion driving the momentum, including an exhilarating guitar solo. Intense riffs in the last few minutes cause the song to explode. There's so much dynamism in this album.

Then, Amarok presents two tracks not composed by Wojtas, and it shows. Kornel Popławski and Konrad Zieliński offer a style that's more grim and less lush. In my opinion, that's exactly what the album needs. A shift in musical perspective. However, don't be mistaken. Wojtas and his lap steel are good companions in the track Queen.

After the thrilling Perfect Run, an instrumental piece with wordless vocals, Amarok delivers three pieces with a subdued signature, which is quite surprising. Don't Surrender is nothing more than a standard ballad, a fairly decent track although the embellishments are somewhat lacking. Simple Pleasure is also subdued but more in Wojtas' style, featuring guitar soundscapes and moody harmonium. In the closing track, Dolina, Wojtas again uses the harmonium, which complements the Polish lyrics well. This exceptional track is exactly what the album deserves.

As for whether Amarok has continued the trajectory of their previous album, I won't state the obvious.

Originally posted on https://progenrock.com