LOONYPARK

LOONYPARK a sound that goes a little below conventional prog by bringing very interesting prog metal spaces with the new guitarist.

'The Shades of a Darkness' nervous intro with expressive orchestration bringing Sabina's entry to languorous pop- rock; modern Adrian's electro and solo break for a sound reminiscent of MILLENIUM; the finale with a heady riff with Christopher releasing a languorous, hovering solo. "Carnival Swirl" harpsichord intro, ethereal verse, fresh cheerful chorus at the antipodes for a melodic title; the guitar solo shows the remarkable touch starting very high, sensitive; final oppressive drums and ethereal synth pads. "What If?" » with a half-heavy riff on those of the first JETHRO TULL, memory; Peter on bass sets the tone while Christopher amplifies the electro 80 side; halfway through the endless solo, all in softness, sensitivity, emotion; a soft finale with metronomic piano and soft air from the synths. "Raw/waR" spatial, symphonic intro, consensual verse before a nervous, heavy wave chorus! Sertari the new voice of KARNATAKA lends his strong voice, the variation is on a guitar slide then a sharp electronic solo.

"Opium" repetitive piano intro then a few cymbals imprint a hypnotic tune; the saturating synth creates the oxymoron and pricks the ear; the new age air, alkaline, ah this latent atmosphere at 2'30''? A redundant air that embeds itself in the head like a drug. "Strange Thoughts" solemn intro where I find similarities with the work of Ryszard from MILLENIUM; softness and meditative reflection, a bit of FLEETWOOD MAC for the ballad side, a bit of ALAN PARSONS PROJECT, a bit of spleen and a very beautiful solo after Sabina's high vocal; simple, effective until the last second. "Eyes Wide Open" with the proven electro intro that denotes the heavy riff even more; dancing, riff on a very good groovy TOTO, a surprising SNIFF N THE TEARS; the break with Christopher who releases a stunning synth solo, melodic then nasty, stunning; go yet another with piano and keyboard in the background, the composition becomes progressive musical art, the most beautiful title that loses us in the meanders. Mid-tempo "The Lightness of the Wind" reminding me of RUSH, a romantic nursery rhyme ballad; inventive percussion brings the album's guitar solo, breathtaking Adrian; agreed melodic air without these lunar derivations which give a surprising power; a last twirling synth solo before "The Flame" when I start to tame the voice, well done, not so linear; on Céline DION in marshmallow, romance and delicacy; a slow ballad to wrap up at the time when we had the right, a title that comes to close this album much more complex than it seems.

LOONYPARK offers a new musical concept with varied and numerous melodic titles and progressive drifts.

LOONYPARK is a Polish group working since 2007 in the progressive space with a crossover trend. This is their 5th album with magda GRODECKA again on vocals, Piotr GRODECKI on guitar, Piotr LIPKA on bass, Grzegorz FIEBER on drums and Krzysztof LEPIARCZYK on synths. Many come from the group METEOPATA, if not from PADRE, they are experienced session musicians; The style of music is polished, soft, the chords well worked for a prog-AOR contracted rendering; a little sound SIMPLE MINDS is present for songs of about 5 minutes. "We Don't Wanna Die" begins the album with a clear tune with piano and rhythm in place to make room for Magda's mesmerizing voice, having fun melting us up to a distant and airy solo and then a reprise of the hypnotic chorus. "The Space Between" and an intro to the majestic piano, the voice that will flirt with that of Celine Dion for a romantic ballad, a tune that JOURNEY or NAZARETH could have played. "Timelines" starts on a more pop-rock chord with dark intro, then arrives a basic rhythm and an aerial, divine station wagon, at the western edge in the middle; it's beautiful, you feel the mastery, it's almost too standardized, too predictable, you're smug. "Believe" follows with a similar piece very well brought, the drums forward to let the voice do its taf, yes Magda sings really well, it's warm, melodious, very well mastered, but it lacks the little "I do not know what" to be more intense , to literally explode; it seems that the musicians are holding back somewhere while there is space to release a more energetic progressive break. "Little Girl" sounds even more about the symphonic new-wave that SIMPLE MINDS distilled in its time: drums, voice, ballad again, quiet space, clean with here a more bluesy guitar and synth-piano more sustained. The titles follow one after the other and we do not see the minutes pass, my ear will look for the voice of Kim Wilde, Linda Ronstadt. "Are We Alone?" is a more energetic track with momenty atmosphere at the ERA, and a guitar that lets go a little more, notes that leave faster, a chorus that makes you want to dance on it, end with military drums that fights with bass and guitar. "Afraid of Tomorrow" goes back on a ballad at the edge of the lament with an airy sound bringing a more laid-back air, it's even hovering with the synth, it becomes interesting with a guitar finally a little more angry. "Odyssey" for the last track, 7 minutes that sums up the album: air well soaked but with a feeling of repetition that tarnishes a little the sensation of the first tracks; even the end struggles to take off, too bad. LOONYPARK has released a beautiful melodic rock-pop album almost too beautiful lacking real more rhythmic breaks; the album goes well, for sure but it lacks the "pep" (in French in the text) to make the titles take off, to give them more tone, more energy; and in view of the various non-refrainal developments, one senses that this is quite achievable; this album is good but too overpriced somewhere to really take off or explode, it's a bit of a shame in this era of creative fusion.

I don't know what happened between 2016's 'Perpetual' and 2019's Deep Space Eight', but there has been a major change in the band as singer Sabina Godula-Zając is no longer involved (although she did write the lyrics to all the songs), and she has been replaced by Magda Grodecka. Magda has a quite different approach, as well as a lighter and higher vocal style. This means she is quite happy to throw her voice up and for the music underneath to be almost pedestrian at times. While she is a superb singer, I did find myself wondering what the band are trying to achieve here as overall this is more basic than I have come to expect from the band, and given this is their fifth album they should be moving forward as opposed to working out what it is they need to do.

As always, the piano of Krzysztof Lepiarczyk has a major part to play, but I found myself wishing that guitarist Piotr Grodecki was allowed to stretch his wings as opposed to having them clipped. This album finds the band moving more to AOR-inspired melodic rock with the occasional nod towards progressive rock as opposed to being firmly within the genre and looking out, and the album suffers because of it. Although the vocals are riveting, and I really enjoyed hearing them (and I know we will hear a lot more from Magda in the future in one form or another), there are times during the album when I was simply bored.

Loonypark need to have a serious think about where they go from here, as while I thought 'Unbroken Spirit' was a great album, 'Perpetual' wasn't quite as good, and 'Deep Space Eight' isn't quite as good as that, so they need to do something significant. Will they?

Loonypark have long been one of my favourite Polish progressive rock bands, and one with an incredibly stable line- up. This 2016 release was their fourth album, and apart from the replacement of drummer Jakub Grzeslo after 2008's debut, 'Egoist', it was the same as it was since the beginning namely singer Sabina Godula-Zając, Piotr Grodecki (guitar, double bass, banjo), Krzysztof Lepiarczyk (keyboards, programming, composer & arranger), Piotr Lipka (bass) and Grzegorz Fieber (drums). What we have here is extremely strong neo prog, but the band refuse to sit still so while opener "Something To Forget" is bombastic with great guitar lines, hooks and simple but effective keyboards leads, the follow-up "Face In The Mirror" is far more laid-back. This even features violin from guest Sylwia 'Maya' Majka until Piotr decides to ensure everyone is still awake as he crunches through.

Arrangements aren't overly complex, and although this is progressive, at the heart is a rock band which is being controlled by the keyboard player who is happy to rely on piano as he is on other keyboards. Sabina has a warm rock voice which works well within the music as she sings in clear un-accented English. The result is a very approachable release, that contains some very strong moments indeed, although they do seem to be treading water at times when they slow it down. The band is definitely most in their element when they up the tempo, introduce more rock elements into their music, and there are times when they come across as a modern Simple Minds with guitar making inroads here and there as opposed to all the time. The use of banjo is surprisingly effective, as long as the intent is for the listener to smile when they hear it. Another solid album.

This was the third album from Polish act Loonypark, and in the intervening years there was just the one line-up change with drummer Jakub Grzesło departing prior to their 2011 release, 'Straw Andy', and being replaced by Grzegorz Fieber. In many ways, this is quite a different album to the debut, which perhaps isn't surprising given that there were seven years between the two, as the band were by now confident in what they were doing, and it is this confidence that shines through in everything they touch. It is more symphonic than before, and whereas the power was somewhat restrained in the past, here it is allowed more freedom. Sabina hits the notes she wants to, and maintains them without a quiver, standing proud to the world, showing that she knows she has the voice, and is going to use it.

The delicate guitar lines that were the trademark sound of the debut are still here, but not as frequent as they once were. The band have shifted so that Krzysztof's keyboards are even more important than they were previously: they are much more integral to the overall being that is Loonypark. He isn't afraid to play delicate piano if that is what is needed, or use the sounds of a harpsichord, while Piotr Lipka brings in a fretless bass to give that extra warmth, or they can easily move into all-out bombastic over the top symphonic prog. There is a real sense of space within the music, so that the listener can move between the interweaving strands and concentrate on whatever seems to be the most important. "Treasure" is a real highlight, with so much delicacy at the beginning that it feels as if a gossamer thread is being wove, before being blast away just in time for them to start the process all over again. I became a fan of Loonypark when I first heard their debut all those years ago, but this album is just so much more than I could ever have imagined that they would become. Awesome.

Polish band Loonypark was formed in 2007 by Krzysztof Lepiarczyk (keyboards) and Jakub Grzesło (drums). They soon found the right singer in Sabina Godula-Zając (who had previously been in Liquid Shadow with Krzysztof and had sung with Millenium), and Krzysztof then looked to another of his previous bands, Meteopata, for guitarist Piotr Grodecki and bassist Piotr Lipka. For a debut album, this is a polished affair, but given that the guys had all been around the scene for a while that probably isn't too surprising. Unlike Liquid Shadow, here all the vocals are in English, which immediately makes it more accessible for those who don't understand Polish, and the music is also quite different in that here it is far more reflective, and not nearly so in your face.

It contains elements of symphonic prog, mixed with good strong melodies and sensibilities while also using some wonderful Camel or Jadis-style guitar lines. There is a real warmth to the keyboards, and Sabina has beautiful control and timbre that gives the music a depth and quality sadly missing from many bands. It certainly doesn't come across as a debut, there is far more power and passion, but all restrained and dealt with in the right manner. Guitarist Maciek Tomczyk, who later turned up in the Polish avant-garde metal band Luc Occulta, is a guest on this album for some of the songs, and it is hard to imagine that he later became more abrasive as here his guitar sings gently and sweetly, combining with some wonderfully dated keyboard sounds to create something quite special. Poland has long been a haven for some amazing progressive bands, and Loonypark are yet another strong act.

Interesting computer program keyboard-oriented Neo Prog. It's melodic, quirky, gentle, and graced by the FREQUENCY DRIFT/INTROITUS type of sound and female vocalist (Sabina Godula-Zając),

Five star songs: 2. "Face in the mirror" (4:20) (9/10) and 7. "Secrets to hide" (5:39) which has a cool PINGVINORKESTERN feel to it. Great pacing groove. And better sound choices. (9/10)

Four star songs: 1. "Something to Forget" (5:10) (8/10); 3. "Train of life" (5:11) banjo! (8/10); 8. "New beginning" (5:55) a long introduction leads into a pleasant, melodic instrumental song (8/10); 9. "December" (5:33) the computer drums immediately intrigue and repel me. Piano and low register female vocal soon join in. Singer gets emotionally involved. Nice piano bar or AM rock ballad. (8/10); 4. "Don't say a word" (4:34) Nice vocal but too syrupy. The keyboard sounds sound old. (7/10), and; 5. "In the name..." (4:24) ("...of the Lord") weird little song. (7/10)

Three star songs: 6. "Catch & release" (5:14) So simple. And dated. Like a bad 70s rock song. (6/10)

A solid three star album. Good but not great.

Fourth release by this Polish band, after Egoist, Straw Andy and Unbroken Spirit Lives in Us. I am happy to report that, in my view, the band, which was previously going progressively downhill, seems to have stopped (if not wholly reversed) the sad trend.

I thought Egoist was a top-notch album with sufficient variation (and guitar breaks) within the tracks to maintain interest throughout - think of (a less dynamic) Landmarq or, say, Janison Edge.

The first half of Straw Andy maintains the standard of its predecessor. However, there is an alarming deterioration towards the end where the band seems to be re-positioning itself squarely as middle-of-the-road rock balladeers: all heartfelt lyrics and over-dramatic wailing guitars. This is a trademark prog conceit, designed (supposedly) to add weight and depth to its surroundings, but selectivity is the key: a succession of maudlin ballads is enough to send you scurrying to the hills, to scrape your knuckles on the rocks.

Much of Unbroken Spirit Lives in Us reinforces the trend, with the title track being a particular culprit. "Nothing will change before we die" pleads Sabina on Awakening. Quite right, too - any more of this and we'll all need putting out of our collective misery before the night is over. Thankfully, the closing two-parter, The End, is hauntingly beautiful and serves wholly to restore your faith in the human condition.

And so to Perpetual. Crikey! The band has now thrown in electric violins for good measure. Still too much dramatic blancmange for my liking (eg December), and too much contrived jauntiness (eg Don't say a Word) , but at least the band has rediscovered some grit and balls...although not enough to raise the overall score above 3 stars.

Having belatedly noted from the scores on the doors that Egoist is actually the least regarded album to date, I went back and had another listen. First time I had done so in many years, and I thought maybe my memory was playing tricks. Then I listened again to the other three as well. No change - Egoist is definitely the only one where each and every track stands on its own feet. All in all, I reckon it's streets ahead of any of its successors; and if you want to hear the band at its best, and leave your knuckles undamaged, I recommend that you don't stray beyond it.

Calling 1980s classic rock fans: Here's an album you may wish to check out. There are various guitar textures and solos, synthesizer backing, and powerful drumming, all of which screams FM radio. Sabina Godula-Zając has a warm, bluesy voice that lends itself well to these rock songs. Imagine a female-fronted Journey (or, easier still, think of Heart) with occasionally more complex arrangements- that's Loonypark's Straw Andy. My main criticism is that the second half of the album consists of slower-paced songs, and a lot of the energy that the first half builds never returns.

"Straw Andy" After a teasing Mellotron, this opening track becomes a straightforward guitar-led instrumental.

"Undefeated" A pleasant distorted rhythm and synthesizer lead introduces this inoffensive rocker. The guitars are dynamic, ranging from dialed-back distortion to fuller riffing.

"Baby Lulla Shadows - Part 1" I dig the main riff to this, especially with the sputtering bass guitar flickering underneath it. The 1980s rock and roll vibe is decidedly present with the synthesizer backing and the lead guitar antics.

"Baby Lulla Shadows - Part 2" The second part brings multiple guitar sounds- acoustic, crunchy electric, smooth chorused electric- and creates a soft rock song almost capable of inducing slow dancing.

"Try" Another soft rocker, this time led by electric piano has a refrain that makes me want to put on roller skates and dodge the reflected light hitting the floor from a shimmering, rotating globe.

"Strangers" This reflective song on acoustic piano keeps me whisked away to the 1980s.

"The World is Enough" A third slow dance song in a row, this one, just as pretty, keeps the piano but adds a bit of acoustic guitar and some other light instrumentation. The tasteful guitar solo leads into some big synth.

"Dance" Speaking of synth, here's a darker one soaked in it alongside saturated guitar that tapers off into more hushed verses. From time to time it springs back into crunchy brusqueness. Compared to many of the other songs, this one is tougher to follow. A seemingly unrelated synthesizer passage shows up near the end.

"Great in the Sky" Mournful piano "Great [Gig] in the Sky" and equally mournful vocals make up the bulk of the final song. The album concludes with another satisfying guitar solo.

Maybe unbroken spirit lives in the United States too ... well, funny, this is what I read by mistake for the very first time due to the capital letters when I saw the album title ... but to make it clear, LOONYPARK is hailing from Europe, Poland, Krakow precisely. They are underway for several years now, which means this is not their debut at all. As for that you are faced with professionally composed music overall. This is an album of vinyl length, build up by polished songs - a blend of art rock and neo prog which occasionally even gets close to the popular world - similar in style to fellow countrymen from Believe, State Urge, Archangelica aso.

To draw on this firstly, when following Awakening for example I'm inclined to hear the pop band Eurythmics, where Sabina's voice intensively reminds me of Annie Lennox hereby. And in some way I can't get rid of the impression, that I've listened to one or two songs or at least sections before, just within another context. Nevertheless this is a pleasant listen really, due to the haunting melodies, excellent musicanship guaranteed. Just to mention the heart-melting title track which appears as an extended ballad here. Failed Game marks a strong opener, the intriguing groove accompanied by a memorable guitar riff moves straight into the blood. This may be suitable for kicking the people onto the dancefloor, but is able to offer even more, namely a nice melancholic piano outro. I like this song very much.

Treasure convinces me due to alternating signatures - they are toggling balladesque and straightforward rocking moments with ease. Above all I find this production a really full-scale guitar offensive delivered by Piotr Grodecki. Astonishingly enough the prog scene in Poland - similar to the Italian - is a very productive one currently. Hereby LOONYPARK are bound to develop smooth and catchy music, as for that approach and success in general this album is comparable to Believe's 'World Is Round'. If you are feeling comfortable with this, while missing some edges on the other hand, this album is a recommendation for sure - 3.5 stars.