HOPE

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

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.