HOPE DIES LAST

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

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

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).