ALL THE PRETTY DAYS

Back in 2020, Polish newbies Fren arrived on the scene with a stunning all-instrumental debut, universally praised by both fans and critics and left an indelible impact on the community, perhaps signalling a new emerging talent to further raise the progressive bar. With respect to the many one-shot wonders, the proverbial question remains: Can you do it again and perhaps even better? The wait is over, and the answer is a resounding YES! This Polish- Ukrainian quartet of Oskar Cenkier on keyboards, guitarist Michal Chalota, bassist Andrew Shamanov and Oleksii Fedoriv on the drum kit return with another dizzying slab of music, this time incorporating a choir for effect for the final 24 minute plus "Turque", a crowning achievement.

As everyone knows full well, Ukraine was invaded by the Russian troops and eschewing any kind of political diatribe, the fact remains that war has once again arrived at the gates of Europe and this past year has been one of general fear, concern, disgust, and anguish. Therefore, it should come as no surprise that the new album, entitled "All the Pretty Days", has absorbed all the pain and suffering associated with conflict and one can hear and feel it from the initial few seconds and all the way through. The production is less refined, with a raw intensity and obvious grit that seeks to overpower the mundane. This will undoubtedly be a more emotional experience, at least it was for me (I was born in Hungary, and I know what its like in that neck of the woods!).

When the sombre piano cries out its pain on "Hammill", the emotion becomes palpable, the starkness self evident, the cymbals threatening and the electric guitar entering the fray with resolute acquiescence. Many feelings join in union: solemnity, sober reality, courage, defiance, will power and hope. A stunning opener. Out of this unambiguous intro, a swooning groove emerges on the austere "Wiosna", a 10 minute + lumbering steamroller of harsher riffs, walloping bass lines amid a massive drum rumble verging on the ferocious and unrelenting. The insistent piano exudes passion and boldness to unparalleled heights of exaltation., boldly halting the onslaught long enough for the guitar to lick its wounded frets. This is Fren's version of King Crimson's mythical Red album, in that it is a challenging listen, a gut wrenching musical experience, to say the least. Breathe?. "Romantik" is not exactly all sunshine and flowers either, a sorrowful bass and piano-driven etude that maintains the pain, as only the main melody emits some semblance of a once strong impression of beauty, perhaps taken for granted in the context of human survival. A sweet mid-section reminds one of some familiarity with more blissful moments, but it still rages on?. The vibrant piano resonates with unabashed power and conviction, a genuinely sensational display by Oskar, while Michal's guitar oozes impossible shivers. The rhythm section has no interest in any kind of surrender and will never give up the fight, as it occasionally rests within the valleys of the arrangement, just breathing for a final assault. There is a gorgeous but subdued melody that has a repetitive gravity to put this to bed and blanket the piece with a semblance of momentary peace. The mood seemingly calms down on the atmospheric "Bajka", but its really just an illusion, an oasis within the sandstorm, a respite from the madness, a lull from the thud of endless detonations. It does last longer than its 3 minutes, as the context will simply not allow any kind of relief.

The final two epic tracks are the hallmarks of this magnificent release, the vitriolic bass-fuelled title track with its incessant, to the point of obsessive, piano hammering as its succumbs to a slow infernal dirge, the caustic electric guitar splashing bloodied licks, amid hellish confines of gnarly tones. One cannot help but to viscerally feel the earnest agony embedded within each note, (perhaps even in between each one). Relentlessly pounding away like a barrage of cluster bombs savagely destroying everything in its programmed path, animal, mineral and vegetal reduced to ashes. Gulp!

And then we arrive finally to the Tartarean 24-minute masterwork that simply encompasses all that Fren can do (and had done up to now) in one mighty cogent and convincing piece. A dynamic piece with everything one can hope for, flushed with dissenting contrasts, lightning rapid playing by all four master musicians, loaded with exalted melodies and elongated jams that sear and soar. Both Shamanov and Fedoriv propel the arrangement to dizzying heights, a muscular and mordacious duo intent on steering the band uncompromisingly to areas where only the bravest men go. After the briefest of silences, the highly reflective and suave mid-section etches an elegant piano and guitar theme, later adding on a shimmering choir vortex that will leave one speechless, worthy of the most beautiful music heard in quite a while, without any hint of either gimmickry, ultra-polished production sheen or overt winks at accessibility. There are even hints of future happiness and frolicking in a jazzy moment for the ages. Just honest, heartfelt, melancholic, and raw music. Not pretty at all but very effective.

Can we stop the war now please! 4.5 Salvation salvos