SKELLIG

I really wanted to love this album! After reading the review by Tarcisio Maura earlier in the year, my excitement was high. Mirek Gil is my favorite guitarist of the last twenty years, and the Polish prog scene one of the most interesting and engaging during that same period. However, though, yes, Mirek is present--very present--and, yes, his distinctive wailing guitar sound is present--sometimes in triplicate--still, there are too many times when he disappoints: holding back, it seems; when you expect him to let loose in one of his frenzied, emotional solos, he just . . . doesn't. The solo in song 6, "Druga pólnoc" and the intro to song 7, "Czas i ja" are the only two times he comes close to letting go. A lot of time and effort is spent establishing repetition and melody/hooks with his lead guitar time; too much time and effort are spent showing restraint, trying to exhibit some kind of cool control, when I just want him to go shit crazy! (as we all know he can.) Luckily, the songs continue to grow on me--again, as his songs tend to do. I guess I was just disappointed at first listen because I wanted so much more. (I really was more enamored of the drumming and vocals in Polish.) During the second and third listens I must admit I heard much more of the beauty of the arrangements (mostly layered acoustic and electric guitar riffs), the melodies and harmonies, the vocals (I love singing in one's own native language). As I mentioned, the drumming (kudos Wojtek Szadkowski)--and often intertwining bass playing--are among the most consistently interesting themes of this album. And, Gil's guitar riffs are good; it's just that they could be . . . better! And, though I miss the lead guitar and keyboard interplay, I must say that the absent keyboards are not missed. (This aspect of the album gives it a feel similar to that of David Gilmour's second solo album, "About Face.") Every successive song seems a bit better, a bit more close to the Mirek Gil we know and want; it's just that the emotional highs are rarely there. More in the drums or vocals than the lead guitar work.

1. "Skellig" (8:46) 
The opening song is beautiful, inviting, captivating; Gil's acoustic and lead guitar work are bold and beautiful, simple and almost cocky, the vocals very engaging. The bass and electric guitar rhythm section kicks in very effectively at the 2:50 mark. At the 3:50 mark the chorus first ensues with vocals and electric guitar lead dancing a very beautiful duet. The second chorus is followed by a lovely, long, vintage, if subdued, Gil solo. Backed by background choir and wonderful work from the rhythm section--who, fittingly, get to close out the song. 7/10

2. "Mnie tu już nie ma" (5:10) is a beautiful, emotional, perhaps sad filled with lots of simple instrumental subtleties, like upper register bass play, harp-like acoustic guitar picking, delicate cymbol play, and lots of creative traveling across the toms. Here Mirek chooses to use his lead guitar to provide a very steady (one might say, repetitive) background for some stellar drum and bass playing. In fact, this song seems to have become a set up to display the excellent drum and bass play. 7/10

3. "Otwieram drzwi" (5:57) 
is the first song to really show a little of Gil's old heavy/neo prog roots?more use of thumping bass and electric power chords with a touch more volume on his lead. The vocal work here shows some weakness in the ability to deliver the higher end power; he seems to excel at the delicate, more ballad-like singing. Once more I find myself more drawn to listen to the drum work. The lead soli begin with a brief one at the 4:00 mark which is notable for the layering of two different tracks playing over one another. Trouble is, none of these soli "go anywhere." 6/10

4. Rzeka (3:20) is a short, very standard rock song?sounding very similar to MIKE & THE MECHANICS' big hit, "In the Living Years." Nothing special here. 4/10

5. Odmieniec (9:20) tries to rock out in a kind of BAD COMPANY "Ready for Love"
way but the best part of the song are, in fact, the very delicate vocal section that precede GIL's first guitar solo and the soli themselves which finally, nearly, live up to expectations--yes, he ALMOST lets go. It's killing me: It's like listening to/watching ROBERT FRIPP: waiting and hoping that emotion will for once win out over mental planning and technical execution; he gets close but never quite leaves that seat on his stool, can't quite let himself go--show his human side. Too bad. Still, this is a pretty good song--and the solo is still better than 90% of the others out there. 8/10

6. Druga północ (5:36)
is a peppy song with perhaps the album's best vocal--with a very melodic vocal chorus, and some fun acoustic, rhythm and lead guitar work. Another set of classic, catchy lead guitar riffs to hook you in, and here we get to again experience Gil layering his guitar leads (and some pretty decent ones, too). Excellent song. 8/10

7. Czas i ja (5:14) an instrumental, the best song on the album, where Gil finally gets moving, and his guitar is screaming, but it never reaches the heights we know he could go to. Again: the drums and bass deliver big time. 8/10

Love the singing and Polish lyrics, drumming bass, and acoustic guitar work, and, of course, the distinctive--you might say, trademark--sound of Mirek Gil's lead guitar. Disappointed in the lack of innovative or "progressive" elements in the music. Happy to hear Mirek Gil under any circumstances; just wish he could have been a little more emotional and less mental/scientific in his playing. 4(-) stars. A good album. (Recommendation: Give it 3-4 listens before judging it completely.)