...CYKL OBRACA SIę, NARODZINY, DZIECIńSTWO PEłNE DUSZY, UśMIECHÓW NIEWINNYCH I ZDRADY...

The debut release from a Polish band whose lineup had been through nine years of evolution including several breakups. All of that time, I think, must have steeled their resolve and polished their vision and chops as the songs and production of this album are quite mature and sophisticated.

1. "Before" (1:49) a hard-drivin' rockin' out intro as if Keith Emerson had put together a 80s prog-pop ensemble. (4.25/5)

2. "Tarot" (8:30) bleeds over from the previous song with an ominously sustained low synth note/chord. Incidental guitar, keyboard, bass, flute, cymbal, and even spoken word and "taped" singing line flourishes flit in and out of the soundscape for almost three minutes until bass, drums and guitar(s) break into a pulsing, swinging rock base over which synths, guitar, and vocals take turns. Very dramatic vocal theatrics come from the singer's performance reminding me a lot of Austrian singer Johan Hölzel's performances as FALCO. It's entertaining but also far too central and dominating to the song relegating the musical accompaniment to restrained simplicity. Drum flourishes, Spanish and electric guitar flourishes pepper the music but really it's Adam Łassa's show. (17.5/20)

3. "Dorian Gray" (5:55) A solid atmospheric heavy prog song with a story and great sound production. Though one might have predicted it (based upon the subject matter as indicated in the title), Adam's vocal performance here is far less theatric than the previous song--which gives the instruments more room to shine. Unfortunately, they don't take full advantage of this opportunity. A bit of a VDGG/BABYLON feel to the mid-section, but then things turn more toward the realm of hair band 1980s metal. (8.25/10)

4. "Kameleon" (4:30) more solid heavy rock-prog with interesting subtleties as value added items. Again, Adam's vocal performance is more hard rock--with background vocal support in the second half. Again, the band's mature restraint is noticeable--especially for a supposed "debut" album. (8.5/10)

5. "Alhambra" (8:25) Spanish guitar with deep organ pedals open this one before flute and synths join in. Then, at 1:25 the full band joins in setting up a nice soundscape for Adam to sing over. There is a little FALCO-ADAM ANT-like delivery of the lyrics during the fair-like music of the fourth minute, then everything turns classical both in terms of instrumentation choices and structure. Even Adam's singing is more classical like, feeling wholly like a AFTER CRYING song and performance. The final two minutes have Adam singing in his insistent voice over a return to a more proggy sound palette--though the fade out is purely classical with piano and flute. Nice musicianship on display, but the song is missing . . . something. One of my three favorite songs on the album. (17.75/20)

6. "Inferno" (5:12) by this point the minimally complex instrumental structures and sound palettes are becoming too uniform and monotonous. Even the pacing seems too homogenous. Though Adam's theatrical performances put him into the same group as Peter Gabriel, Peter Hammill, Nina Hagen, Dorrocus, Fish, and Falco, even these become a little tedious for their repetitiousness due to the language barrier. (8.25/10)

7. "Ajudah" (9:07) opens with some delicately played arpeggiated chords from keyboard and guitar before Adam enters to sing. Again, the music is solid but Adam's performance suffers from my inability to understand what he's singing about. Some very Genesis-like sounds and structures peak through here and there but overall this kind of sound foreshadows the heavier prog of many bands to come. (17.5/20)

8. "De Profundis" (4:56) I love the classical instrumentation and sounds used within the weave of this song. The band members all seem to be on full display and Adam's storytelling fits perfectly into the weave. A top three song for me. (9/10)

9. "Tabula Rasa" (11:15) opens again sounding like every other song on the album despite the prominence of the chunky bass, flute and Spanish guitar soloing in the opening section. Adam enters, singing more forcefully than usual, and the music soon comes to match his aggressiveness. An extended synth solo (the album's first and only!) in the first instrumental section after the first verse might give some indication of why there aren't more of these: he's not very good (as a soloist)! Come to think of it, neither is the electric guitarist (taking the solo after the second verse and chorus). The bass player and drummer might be the best things behind Adam--though, to be fair, all of the instrumentalists do a rock solid job of creating great soundscapes over which Adam is able to perform. Better guitar solo the second time around?more of a STEVE HACKETT approach than heavy metal. The Spanish guitar solo in the seventh minute?later joined by lilting flute?is wonderful--almost "I Talk to the Wind"-ish. The reemergence of the heavy "tabula rasa" chorus to break up the delicate instrumental solo section is brilliant--as is Adam's successive highly Teutonic vocal section. My final top three song. (18/20)

Total Time: 59:39

I don't mind the lyrics to be in Polish--especially when you have as good a singer as Adam Łassa delivering them. The instrumentalists feel so very competent yet I am surprised at how seldom they solo--or, rather, how seldom their solos flash or wow. Again, it seems obvious from this album that Adam is the front piece and everything and everyone else takes a back seat to not step on the singer's toes.

B+/4.5 stars; a solid addition to prog world and a remarkable Neo Prog debut.