RSC (FLY ROCK)

I had a really good first impression when hearing this release for the first time, 'cause I was also considering that Poland wasn't the most remarkable prog land on the 70's. So, I gave it some more listens and decided to review it.

Starts with a sad violin, enhanced by the synthesizer. Therefore begins a dark atmosphere, which grows up, until it gets to a phenomenal toccata on the keys, accompanied by drums. Vocals are a bit difficult to get used to, not only because it's on native language, but also for the reason that it's not much melodic. Musically, still on the first track, they improve some good turnovers on bass, drums and keys. Violin somewhere becomes more accelerated and cheerful. These ideas are followed for almost all the composition. On the last seconds they subtly change arrangements, approaching the mood even more to a celebration.

The fast rhythym of the next track has good interventions from guitar, and versatility on drums. Which is presented as a guide for the bass. There are many vocals, that are even harder to swallow. Some snippets on the second half presents some fabulous violin performances. Close to the end, all musicians collaborate massively.

A beatiful piano, going from melodic to andante, sews the main steps on the beginning of third track. Vocals now are half-toned, and whilst adopting notes a bit longer, make them much more acceptable. On it's half, the keyboard player migrates to synths. Bass, very kind and inspirated, switches magnificently between timbres and tones. They accelerate close to the end, with more presence of the violin, and bass becomes intense, making the whole picture almost apotheotic.

There's more swing, including on the violin, on the first moments of the fourth track. Vocals are on half-tone again, fortunately, and the drumming delivers some inventive key signatures, On the other hand, guitar playing, that started with a good rock vibe, becomes repetitive, and the drummer loses creativity. On the end, when violin comes more to the front scene, the composition improves again, but not so much. Weak track.

An amazing violin opens the next track, with many layers of music, and the other musicians offer a consistent cuisine. This composition makes it very clear how they benefit from leaving the vocals more indented, because it actually happens, or even choosing to execute them exclusively instrumental. I don't know if they would be able to mantain a high level musicality without vocals, since I noticed that on some tracks they lose strength towards the middle and beyond.

An annoying siren is the first sound on the sixth track. A speedy rhythym is developed, with a firm/full-bodied violin, and a relevant bass. Vocals are all over the place. A moment before it's half they change some harmonies, and gradually go back to the first ideas of this song. Henceforth, they get very dull and repetitive. They even bring back that horrible siren, that manages to be even worse.

The last track has an electronic, monotonous and unvaried proposal. Along with the filters on vocals, all looks too much artificial. With no doubt, the worst song of this work.

This record is convincing, almost memorable sometimes, but the two last tracks are awful, taking back at least almost one whole star from my first impressions. So, if the album was made only of the tracks from 1 to 6, it'd receive, IMO, a 3.9 stars. But I'm reviewing it's entirety; therefore, my final note is a 3.2 stars.

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