FRAMAURO

A lot of the work for this was undertaken during the recording of 'Alea Iacta Est', but this is quite a different album indeed, perhaps unsurprising given the source material, as this is much more in the Neo vein with similarities at times to both IQ and The Flower Kings. Yet again we have strong guitar and powering keyboards, yet there is also room for the occasional acoustic guitar and one of the delights of this is the use of space and how Krzysztof easily makes his presence felt with some well-chosen notes here and there. It is a release which allows the listener to drift inside the music, yet never relax for too long as there is always the feeling that something bombastic is going to come along at any second. This is prog which is meant to be played in arenas, as it has that huge sound which fits that setting way more than it ever would in a small hall. "Welcome To My Channel" is very much a case in point, as it shifts and turns, dramatic and in your face at points and lulling and inviting at others. This was the third album in consecutive years from Framauro, while the other bands are still very active (the latest Milennium has just been released) and Ryszard is releasing many albums on Lynx Music, but let us hope he somehow manages to keep up the pace as Framauro are class from beginning to end.

There is a very strong use of dated keyboard sounds on this release, which along with the musical approach take them back into the Seventies and the hard rock/classic rock/ progressive sound as opposed to being a straight out prog band, and certainly a long way from the Neo sub-genre which is how they are categorised on PA. 'Painter of Souls' starts on acoustic guitar until the rest of the band come in and we get quite a Floydian guitar line while 'Lost In Music' has rippling piano and feels much more like Camel in nature. In some ways this album is quite different to the 'debut', yet also very related and definitely sees them moving away from mainstream prog when they feel the muse takes them in a certain direction. 2022 saw albums from Framauro, TRK Project and Millenium while 2023 saw this album and another by TRK Project, so the guys were hard at work but never to the detriment of the music as this is yet another fine release which needs to be investigated.

Before playing this I did have some concerns, in that I have known Ryszard for many years, but have never come across the debut Framauro release and given he has not sung lead vocals much since then, if at all, could he actually sing? Thankfully he has a really nice voice, and I was soon relaxing yet again into another great release, which has a very pleasant Eighties Neo feel to it. There is something about this album which is quite relaxing, and I think this is due to the lack of pretentiousness as this is something to be enjoyed on face value. No-one is trying to be too much in anyone's face or dominate proceedings, and while they all have room to make an impact it is never undertaken to the detriment of anyone else in the band. There are nice clean guitar solos, links between the guitar and keyboards which are quite Uriah Heep in manner, always with a commercial hook, drums which are driving but never over played and a bass which can often be found right behind the melody.

The song "When Idols Are Gone" commences by listing a host of musicians and singers who are no longer with us, which leads us into a poignant piano-led ballad which is heartfelt and emotional. The duet between the acoustic and electric guitar works incredibly well on this, providing some nice counterpoint to each other, until it is time to become more dramatic and the song becomes a belter before it calms back down again before the end. This is an album which, unlikely some proggers, can be enjoyed the very first time of playing and only keeps getting better. Another delight from Poland.

1. "Like Father Like Son (Part 1 Father / Part 2 Son)" (7:48) a blues-rocker that, in my opinion, has more in common with classic rock bands like THE ROLLING STONES, TOM PETTY and the HEARTBREAKERS, JACKSON BROWN, DIRE STRAITS, SNIFF 'N' THE TEARS, and BONNIE RAIT and than prog. A good classic blues rock song. (13/15)

2. "My Beloved Songs (Records from My Shelf Part 2") (5:50) a slow, blues-guitar-driven song that reminds me of something from CORVUS STONE/COLIN TENCH. (8.6667/10)

3. "Dogs & Cats" (9:00) all the standard late-1970s prog/classic rock instruments are present (even a keyboard- generated bass). A bit of a lame subject matter--especially for prog. (17.25/20)

4. "Painter of Our Souls" (8:25) despite nothavoing the right voice, this one plays almost exactly like a PETER NICHOLLS-led IQ song (with some PINK FLOYD bombast in the chorus). (17.25/20)

5. "Lost in Music" (5:40) pretty piano opening precedes a CAMEL-esque set up and sound. This is Ryszard's ode to his beloved muse, Music. Nice job--with some nice quirk in the fourth minute. (8.75/10)

6. "Alea Iacta Est (The Die Is Cast)" (9:01) despite the "classical" piano opening, this is a blues rocker that reminds me a lot of both ROYE ALBRIGHTON (NEKTAR)'s 21st Century musical production and ELOY's releases from the late 1970s and early 1980s. (17.25/20)

Total Time 45:44

Bluesy prog rock that reminds me of the German Prog/Pop scene in the second half of the 1970s--the blues-rock Pink Floyd imitators like The Eloy, Anyone's Daughter, and even Nektar (and, later, IQ). This may be a collaborative product but it sounds very much like a one-man show.

B-/3.5 stars; a nice addition to any prog lover's music collection--especially if you like the bluesier side of prog.

Without being innovative and without worrying about not presenting us with intricate music, this band has given us a very "regular" album - in the best sense of the word, since there is no bad song (without saying that it is a masterpiece) - in addition of being very melodic and charismatic; always with the guitar and the voice as protagonists. Thus demonstrating the more accessible side of progressive music.

As expected, Framauro's sound has plenty of similarities with Millenium's early works, while there are also references to the music of COLLAGE and ABRAXAS.However Framauro's style was less developed, less symphonic and more guitar-driven than any of COLLAGE's or ABRAXAS' albums, while the modern approach found in the later Millenium releases is also absent.On the other hand the compositions remain fairly interesting within the 90's Polish Prog sound with changes between crunchy passages and more emotional guitar solos.Additionally there are some great lyrical moments to be found in ''Etermedia'' with a deep intensity along with short piano interludes and very atmospheric, laid-back synthesizers.Kramarski's talent in composition can be also traced in the nice symphonic/orchestral themes contained in a few tracks as well as in the careful acoustic breaks here and there.

Shortly after the release of ''Etermedia'' Kramarski, encouraged by his friends, upgraded this project to a full-time band.Along with Tomasz Pabian he collaborated with drummer Tomasz Paśko, bassist Piotr Mazurkiewicz and singer Lukasz GaLęziowski to form a regular group, while during the recordings of the new album he changed the name of the group to Millenium.

''Etermedia'' contains all the great elements, characterizing the unique sound of Polish Neo/Symphonic Progressive Rock, and the album leaves a positive taste at the end, despite having a more raw sound compared to the Polish scene's legendary names.Recommended.

One of my fave is "Poznac Siebie". It features the most beautiful symphonic musical passages from this album. Very powerful as well. "Basniowe Alternatywy" is also very pleasant. Gorgeous keyboards; a fantastic and wild guitar break during the second part : absolutely magic. This number is harder than average and takes its distances for the symph style.

"Nakarmieni Masmediami" sounds a bit weak after this. Most of the time, it is acoustic with some marimba in the background. The voice is particularly annoying. Several short but violent breaks will bring some vitality (believe me) in this number. Rather bizarre I must say.

Let's consider the short "Etna" as a transition track and here we go for "Zatrzymac Czas". Nice composition with a very emotional crescendo tempo at the end. "TV Show" is almost hard-rocking : great rhythm and very strong guitar. Again, Framauro are closer from prog-metal than from symph here. But I do not dislike it. A bit unexpected, that's all.

Another highlight of this album is "Prasowe Papugi". Fully symphonic this time, it has lots of flavour of Italian symphonic music : melodic, emotional and passionate. While "Enter" is again almost hard-rocking. Framauro is really hesitating about their musical genre. But it does not really matter since they are really good in both styles. Still, it is rather difficult to categorize them. The closing number is truely subtle and very pleasant. A nice final touch.

This band proposes an interesting music, not brilliant but good and creative enough for you to discover "Etermedia". It is fully in-line with the great Polish tradition of good prog bands. Seven out of ten, but I will downgrade it to three stars.