CENTURIE

1. "Spiritus Flat Ubi Vult" (3:27) vocal acrobatics similar to BILL NELSON (Be Bop Deluxe) or HANS HÖLZEL (Falco) with nearly quirky musical support. (Very similar to that of .) I like this. A LOT! Definitely a top three song for me. (9.33/10)

2. "Michel De Nostredame-Mistrz Z Salon" (6:47) theatric prog cabaret of the AFTER CRYING sort. Nice array of instruments. Impressive instrumental skills in the "race" section (sixth minute), but not a very cohesive song. (13/15)

3. "Velvet" (4:07) a variation on BLUE ÖYSTER CULT's "I Love the Night" music. Pretty. Sensitivity contrasted by pounded snare hits. (8.67/10)

4. "Excalibur" (7:44) I love the chamber feel to the first two minutes of this but it's a bit slow and plodding. Thank goodness for the ramped up second section. Nice bass play. The vocals, however, lack melody and feel pitchy. The presence of the oboe and the excellent flute play are my favorites. Then, about halfway through, the song settles into a quiet, pastoral passage with picked acoustic guitars and synth washes backing the delicately sung vocals. Excellent! The slow build beneath the flute is cool, as is the full attack in the final 90 seconds. Great "distant cathedral organ" solo to finish! (13.25/15)

5. "Kuznia" (1:49) perhaps a little active warmup/intro for the next song; perhaps simply a wild FALCO/LIZARD-like interlude to unwind with. (4.5/5)

6. "Czakramy" (10:25) opens with a gorgeous soundscape established by picked electric guitar chords, interesting synths, bass, and delicate vocal. About a minute in drums join in and chords of the gorgeous progression become more fully embellished while Adam sings in full rock voice. Electric guitar power chords join in for the first chorus. Back to the fully electrified but beautifully spacious 80s-sounding chord progression for the next verse and then another foray into the cheesy hairband chorus. Halfway through we stop and reset with some windy "outdoor" synth cacophony for about a minute before interesting drum pattern slowly emerges from the background to lead the next section. This is great! So creative! Now Adam sings with a gruffer aggression before (sadly) abandoning it for a mini-chorus. Wild synth solo in the eighth minute! Use that portamento! Slide those notes! Topped off by a perfect ending! Another top three song. (18.25/20)

7. "Pokuszenie" (12:00) industrial metal sounds are arpeggiated over which woman is singing as if to herself until one minute in the full rock band joins in with some bombast before settling back to support Adam's reverbed vocal. It still feels as if the song is not fully formed. And then, four minutes in, we quiet down to a cave-like soundscape within which Adam whispers against stalactite drips until the 5:10 mark when guitars and IQ-like pulsing support rush in--the lead guitar ripping through a sabre-sharp solo--before settling back into a heavy, though plodding section. A sparse, computer-piano supported vocal section then follows, emptying out into a smooth passage with first one and then two guitars soloing together. Excellent! Melodic, emotional, and nicely extended. Interesting and unexpectedly unpredictable enhanced by the entertaining guitar soli over the final two or three minutes. My final top three song. (22.5/25)

8. "Nantalomba" (4:21) orchestral synths, organ, and cymbals open this one. Oboe and acoustic nylon string guitar join in giving it a gentle, pastoral feel. Tympani and arpeggiated keys with power chord guitars jump in at the 1:30 mark. Adam joins in after the two minute mark with chant-like vocals giving it a more ADIEMUS/CIRQUE DU SOLEIL feel to it. Feels like filler more than essential content. (8.5/10)

Total time 50:40

A most excellent addition to any prog lover's music collection.

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