GYDDANYZC

"Maguro" track that prints the sound of the group; synths credited as guests, fat, catchy, in the style of MINIMUM VITAL in addition psychedelic; the guitar speaks more than it releases its notes; also leading the Peruvian flute of Ushuaïa of departure, a singular moment that flirts on fruity jazz-bossa-rock a little symphonic; the bass and the drums apart, surprising progressives; break with the guitar daring the hard tone like on the flights of TANGERINE DREAM; only track with voice-overs also; flute of Ushuaïa in outro to close. "Gyddanyzc" on a musical work between disaffected LEVIN and THE CURE era 'Faith' for the reverberant guitar; electronic music is animated with this guitar that sets fire; it is hypnotic on the repetitive works of Robert FRIPP; the finale with Jon's energetic sax and some waves. "Żuk" where we can feel the synth that supports Aleksandra's magical guitar; aerial blues with a fruity, cheerful pop-rock sauce; the mid-course break sounds math-rock, it's easy; innovative this instrumental sound, this guitar that searches for itself, distilling twirling notes without seeking speed or technique; just sensitivity. "Wiosenny" continues, here I go, SANTANA that emerges from this fresh blues-rock title, on a melting melody; the finale lets Aleksandra's tapping parade without restraint. "The Long White Cloud" for the interlude with original LP cracking, on KNOPFLER, cute. "Moa" continues pushing the arpeggio on this tune reminiscent of DIRE STRAITS; the most this flight of SNIFF'N'THE TEARS then on the APSARAS who evolved between electronic music and cottony rock; the guitar surfs on different styles while still bringing this musical freshness.

"Dorożka" with the cracking intro, the synth reminiscent of that of ARAGON, memory; syncopated air, redundant, invasive, hypnotic; the prog is not there but is declined on an energetic progressive base putting the confusion in the melody, a djembe bringing relief; the fat synth finale that dares to answer the guitar for the fruity jazz-prog vitaminized gig. "Kurki" with the crazy bucolic clip still reminding me of MINIMUM VITAL for the video and the hilarious rhythm; the drums are not forgotten and hit until the finale passing in reggae before flying away on an aerial guitar solo. "Atlantis" appears, a softness, an ambient progressive showcase, a variation of spatial, crystalline notes; there is the spirit of the GUITAR ORCHESTRA of 1991 releasing the ambient album with swirling arpeggios, mischievously repetitive; the final bass on a SERRA-like air, aquatic, subwayesque. "Spaceship" fruity arpeggio for the rock prog jazzy soul base, an unclassifiable air where many prog followers of MAHAVISHNU ORCHESTRA and RETURN TO FOREVER risk stopping at a standstill like Médor in hunting season. "Jellyfish" not the group but the last title which is also the sweetest to my ears, jazz prog swing, but does it matter? Jan's notes accompany Igor while Piotr uses a very typical Flugelhorn, the kind of brass that I hate and which sets the place on fire, helped at the end by the bursting drums, a brief moment of pleasure.

HAASTA releases a musical gem where the notes are scattered, favoring reveries full of emotion, those where sensitivity takes precedence over technique; rhythms that evolve, slow down, collide, jerk, melting and swirling melodies; a crazy trio that dares progressive freshness by captivating the ear with wild sounds. An album that goes off the beaten track by giving the slap for progressive bewitchment leaving speechless in front of so much beauty. Origin on Profilprog.