SAD SONGS FOR THE UPCOMING DAYS

This crafty band from Krakow has just released its eighth album, which I am proud to report owning all of them, starting off with "Egoist" in 2008. Led by inexhaustible keyboardist, composer and producer Krzysztof Lepiarczyk, who has a few solo albums to his name as well as having played with a slew of Polish bands in the past The first four releases had some promising material and insane artwork (Leszek Kostuj), while the last four have garnered higher ratings, especially the amazing "the 7th Dew" released in 2021, as the solid band kept honing their sound. Both prolific bassist Krzysztof Wyrwa and drummer Grzegorz Bauer have played with Ryszard Kramarski Project, Padre and Framauro among others and they form the new rhythmic backbone, a perennial Polish standard that is quite remarkable, with Sabina Godula-Hare expertly handling the vocals duties. Throw in longtime guitarist Piotr Grodecki and new man Pawel Hebda and the stage is set for some typical melodic Polish Neo-Prog, a romantic style they have an indisputable patent on. Not necessarily a concept album per se , but there is an 8-chapter story being told here, in sincerity and humility.

Bauer kicks "Tough Love" into a pulsating mood, a hoppity-hop pleading vocal from Sabina, mostly to underline the 'tough' part of love, as she complains of being pushed away and anguished by the rejection, Wyrwa really carves some growling low-end moans, the synths chirping wildly in overt discontent, while the piano conveys courage and defiance.

Gloomier climes on "Questions", the swirling electronic hushes along, sweeping the unknown under the carpet, as Sabina inquiring about her fate, hoping for some resolution. The electric guitars attempt at various curt rationalizations, in rather exalted turpitude seemingly, before finally giving way with a liberating solo that hits the spot. The instrumental parts are not overtly complex but rely on emotional impact as well as sonic insistence (the manic piano motif) in order to propose any finality.

Showing why Wyrwa is among the most celebrated prog bassist in the country ,"Breakin' Free" shines the spotlight on Sabina's sensitive bluesy implorations, then switches to the soloing guitar pirouettes, a romantic piece that has a heart wrenching touch, appealing to those who actually have emotions in their lives and need to express it. The serpentine bass charms the outro with magnificence.

Keeping the smoky nighttime reflections alive, "In New World" is the ideal segue, as the love story keeps constantly evolving as it always should, no time for boredom and routine. Another heartfelt vocal with a haunting instrumental palette, soft synths whirl in exalted bliss, decorated with that relentless rhythmic support, like a warm embrace that never wants to let go.

With a title like "Strong Woman", one can acquiesce the linear romantic imagery conveyed here, a band that is focused on the multiple chapters that form amorous relationships , the strength of honest feelings and understanding compromise. After all, trust is the single most elusive requirement for eternal love. Another persuasive track, with an insistent fretboard display of beauty and brains, as well as a commanding vocal delivery that does not shy away from expressing innermost feelings. No frills and lots of thrills.

As the album title implies, 'sad songs for upcoming days will always satisfy the incurable romantics , drenched in nostalgia , recollections of times gone by that will perhaps never reappear. "Memory of You" is that mental treasure chest, each human carries (admittedly or not) within their mind and entrenched in the soul. The bluesy guitar caress is achingly sorrowful yet redeeming. Another terrific track.

"Road to Hell" is the longest track presented here, clocking in at 7 minutes + , so it should not come as a surprise that it takes it sweet time to bloom into a full-fledged opus. Misty electronics signal a path through the fog of time, into the darkest abyss, where perhaps evil resides. Piano and voice tremble together in taking that route that the soul may be obligated to wander into. The 'losing myself' chorus is devastatingly poignant, definitely top track material, played on prog radios all over the world. Sabina sings 'Nothing is ever at seems', not exactly a revelation, more like a truism one must always face. A stupendous acoustic guitar wraps around the fleeting piano melancholia, offering solace and comfort.

After such a gut tearing declaration, "After All" an only serve as a final conclusion , a musical shrugging of the shoulders, a taciturn defence mechanism that central Europeans have certainly mastered in spades throughout their interminably turbulent history. The convulsive drum patterns, the eructing bass and the sibilant synths join the forlorn recitative voice in phlegmatic fatalism, the valiant fight a never-ending burden.

This group seeks not to reinvent the prog wheel or boldly go beyond the outer reaches of creativity, preferring to dig deep into the human psyche to find all the necessary stimulation. It's seductive music, perhaps appealing to the feminine mindset, and the emotional quotient that makes us human. I for one, loved it. Oh, and lovely covert art again.

4.5 future blue tunes

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