FACE THE DAY

FACE THE DAY lives musically since 2014 distilling a modern neo prog in the line of a PINEAPPLE THIEF, PORCUPINE TREE or KATATONIA; atmospheric touches à la MOGWAI, a zest of post rock, floydian art rock in fact. A melancholic central theme remains due to the loss of Martin's mother, when he relapsed into K7s from the parental home. This is the 3rd album of which he keeps the reins after having played in MINDWORK. His group wants to offer fresh alternative air with pleasant melodies starting from the prog, the jazzy, the ambient and the modern psychedelic.

"It's Over" beginning and longer track with a warm instrumental, which makes the sauce rise; solemn title between vocal borderline languorous phrasing helped by that of Kristyna and crystalline floydian guitar; psychedelic floydian break then on 'Meddle' in my opinion. "Grown Up" for the dreamlike piano ballad, still solemn, the melancholic title of great beauty that could have been written by ANTIMATTER, ANATHEMA or Kristoffer GILDENLÖW; the symphonic rise with violins makes you shiver. "There's a Place in My Mind Where I Tend to Hide" has a more rock intro, standing out from the watered-down prog clichés; the title with a tempo that makes you move, that can make you dance, a revolution in this prog world that is a little too foreclosed; I immediately think of the work carried out by Steve WILSON; hypnotic air with post-rock choirs 100% in the distance then it starts again on a sustained rhythmic base; a MOGWAI-like crescendo there. "Bright Dot in the Darkness" its new wave synth of KILLING JOKE at the start, then a polyphonic harmony à la Gary NUMAN icy of course; alternative when the antinomic bridge of punk can be thought of, an aberrant thing for a basic prog.

"Dawn" to the cinematic intro, the current 2022 fashion, one-time western air; somber text about childhood, crossover tune, ouh je m'en bien pas, with languorous Crimsonian choirs; when I think of the K7s he must have listened to. "Entangled Souls" for a radio edit, alternative fusion rock that doesn't look its age; it's fresh and reminiscent of old sounds "Driver's Seat" in this case for a moment, I too turn to memories; short piece to cling to life, to the idea that an after is always possible; ode to his mother on a plaintive guitar. "Panta Rhei" instrumental guitar to prolong the ode before between acoustic and electric, solemn as an epitaph. "Last Kiss" to conclude this concept at the level of memory, the? last kiss on a ballad out of time floydian, dark and crystalline; the basic post-rock to give the sign that any end brings a new beginning; a raw tribute title with the lyrical sax as an arrow-remembrance, link forever anchored. A title.. .catchy with a voice at the end to remind us that we are all children forever.

FACE THE DAY releases a good album of progressive alternative rock on the border between melancholy and hope; mourning and memories on the one hand, a saving regressive musical wandering to overcome this inhuman but also completely normal moment of Life. After the prog metal sound of MINDWORK, Martin proves here that music is out of the box and can be experienced in different ways. A fresh album in the musical world on the edge of many groups, singular and unclassifiable, to listen to one evening by the fireplace for the intimate and meditative moment.

Hailing from Czech Republic, FACE THE DAY is a brainchild of Martin Schuster. Suffice to say, then, he's a very talented lad who takes on lead vocal duties, and plays other stuff too: guitars, bass, piano, virtual instruments. As if this wasn't enough, Martin has invited some friends for his second offering titled 'Stuck In The Present'. Filip Kittnar is around for drums, Martin Spacosh can be heard on additional guitar layers, while Jan Svec and Martin Plachy add fretless bass, cello and alto sax respectively. I would describe their general approach as a slice of distinctive credentials. In terms of style, the music has apparent Anathema, Radiohead, Gazpacho, Lunatic Soul and Porcupine Tree resemblances, time after time interrupted by edgy riffs a'la Opeth. Such blend of elements ensures some good thrills. All accents are well executed, thus giving each song its own identity that's dense and sensitive. There's a good level of diversity and depth. To sum, I must confess that 'Stuck In The Present' is a rather interesting album.