PICTURES FROM SIERRA MORENA

The Prog Rogue has been following this band since day one, and I am overwhelmed to admire their ongoing evolution, as each and every album has been a deliberate and well thought out upgrade, in more ways than one. The duo of guitarist /keyboardist Krzysztof Wala and Andrzej Bielas on keyboards continue along their well-defined path of creating a melodic neo-prog version of symphonic rock, a chiseled style the Poles have perfected to the Nth degree (Collage, Believe, Satellite, Albion, and many others ?). Finalizing the line-up is the upfront bass work of Michal Wala and deft drummer Pawel Wietrzynski, with vocalist Daniel Kurtyka (having played guitar with Lizard and Strange Pop).

The seven-part title track suite spans nearly 13 minutes and finds inspiration from a novel by Jan Potocki (written in the 18th and 19th centuries) which was also turned into a 1964 Polish movie. The highly adventurous composition exposes a wide variety of stylistics that go way beyond the perhaps predictable at times neo-prog banner, delving into shades of classical, folk, rock, prog and world music, with a diversity of lyrical topics. No messing about here, the plunge is immediate with a melodic lead guitar leading the way, heavily supported by a constructive bass line, piano tinkling brightly, blooming into the main melody, where the grandiose arrangement shapes into place. No time is wasted in transitioning abruptly into an ambient and reflective mode, where the accented narration is a joy to witness, a ticking clock ominous in its determination. The groveling bass travels into another transition, aided by a choppy beat to further complicate matters, the restraint powerfully effective and hypnotic, as Kurtyka finally grasps the microphone and displays his vocal prowess. Krzysztof Wala decorates the syncopated murmur with a fluid electric guitar line that empowers the sustain pedal to the limit, searing and fiery like a laser beam. Experimental and decisive, the moment is immense. When the second vocal verse enters the fray, the bar is raised to a much loftier level of urgency and really hits the mark. Andrzej Bielas has his piano and synths on full duty, as the epic piece reaches its destination. Lovely entrée!

Billowing massive mellotron choirs greet the vision of "The Sea", another blistering e-guitar foray that accelerates the rhythm section into torrid course-plotting, with propeller urgency in the captain's bullhorn, casting the sails to the wind, as the whitecaps splash against the arrangement's hull. An exhilarating musical cruise, that also features a ripping synthesizer torpedo from Bielas that trashes forward into the wild blue yonder.

Kurtyka can sing in hushed tones as well as bellowing forcefully as is the case on the piano-led "Wrath", a melancholic tirade that suddenly introduces a bullying Hammond organ barrage that adds layers of rage and anger to the piece. Krzysztof Wala then chooses a sizzling fretboard ride to raise the ferocity level even further, dueling mercilessly with a romantic synthesizer caress, an amazing example of extremes. With hints of Argent or Uriah Heep, this is another winning slice of picturesque prog that wanders delightfully into a wide variety of variations, as it injects a series of gentle ambiances that only serve to heighten the contrasts. A most enjoyable form of pulsating madness. Almost the same length as the opener, "Lady in the Glade" takes on a more overt acoustic slant, a folky, sun- shining, golden-haired, eyes sparkling ballad, that has simplicity as its main element. Tingling guitars, gently rolling organ and a voice, perhaps close to an Anthony Phillips vocal piece, pastoral and bucolic, sounding very British. The rubbery Michal Wala bass enters to take a bouncy bow, as the children play in the background, a symphonic synthesizer canopy that provides the necessary shade, comforted by the sublime melody. Staying resolutely in the same atmosphere does not mean the band does not seek out atmospheric alternatives, as both Walas express themselves clearly and majestically. The bells ring out in symphonic splendor, an ode to prog joy that would make Beethoven proud, as the enormous final string arrangement takes this eloquent composition into the realm of greatness.

The last track "By the Barrow" suggests a rather mellow ending, a passionate ballad with a languorous pace, initially mostly acoustic, with a keyboard heavy and splendorous disposition, unhurried as well as fully developed. It's a gorgeous lament that proves this Katowice band's evolution in joining the above grand masters from Poland's ongoing vibrant prog culture.

Perhaps it's now time to reconsider the neo-prog label, as the variety presented here goes way beyond the often stringent and hermetic parameters of that genre. Lovely artwork, amazing sound, polished (sorry!) technical mastery and a most inspirational effort. Their best yet.

4.5 Brown mountains