WE WERE SO WRONG

In the realm of prog-rock, Poland is surely famous for a slew of neo-prog outfits that have adorned the landscape since the very beginnings with such great symphonic artists as Exodus and SBB, and evolved into Collage, Abraxas, Quidam, Satellite and such. Beyond neo, there is Riverside of course, who now have embarked on taking over from the defunct (or hibernating) Porcupine Tree. Post-rock bands such as Besides are multiplying rapidly, this time influenced not by old-school Genesis but rather by New-school Anathema. Funny that during recent Steve Wilson concert, the leader espoused the virtues of 'shoe-gazer' bands such as My Bloody Valentine , Slowdive, Catherine Wheel, Cranes, Curve, Love Spirals Downwards, Chapterhouse, Hinterland, Lush, Seefeel and Swallow. Besides searches out similar aural landscapes, with iridescent guitar barrages, glistening bass and thumping drums. There are no lead vocals or keyboards at all, everything being focused on the deadening dual guitar bombast and the rhythmic support team.

It's not always tempestuous like the opener 'At Night' which certainly kicks one into overdrive and it can be more contemplative such as on 'Beyond', though this one does open up into a blooming foray of exaltation. The trembling forcefulness of axemen Paweł Kazimierczak and Piotr Świąder-Kruszyński can be really overwhelming, with loads of effect pedals that convey a sense of mellotron at times, which is quite the revelation. Each piece has this crescendo outrage that makes it quite breathless and certainly will encourage gazing at unlaced loafers. On a highlight track like 'Linnet's Flight', the clanging guitars ring like some electrified 'cimbalom' (Hungarian hammered dulcimer) and as per norm, evolves into another brash arch of stringed growl and doom that underlines a strong sense of monolithic angst. The guitars can even sound like dental drills at times, whirling into the aural enamel with seeming impunity.

The more placid 'Undone' starts off gently enough, profoundly subtle and emotive before raging towards the finale, an avalanche of shredding guitars pirouetting like some dervish convention. An orgasmic release does occur here but I guess that is 'besides' (sic) the point. The title track is a raging inferno, the leads searing, churning and illuminating some sombre night sky or the arrival of Chopzilla (that dreaded rock monster). A serious scorcher that really leaves a good wake up call.

'Calm' sounds somehow familiar, a stinging criss-cross riff that echoes amid the bass run and the drum beats, which encroaches ever so subtly into a more overt expansion, the twin guitars evoking some choir mellotron epitaph, ebbing and flowing ever so solidly and conjuring up images of sonic valleys and melodic peaks. Cinematographic in a sullen and frozen way, the piece is definitely a suave contrast between smoldering and arctic. The exact same formula is repeated on the curiously titled 'May I Take You Home?' and is equally over 6 minutes in length. The melody here is surprisingly more pastoral, a lead guitar phrasing that eventually does rattle and hum, as per expectations. Drum and wind end the question.

The final piece is the longest, a seven minute electric buzzsaw that settles the style and issue for any listener and help in determining whether this is a winner or maybe not. My only reservation is the sameness of the music with very little variation, obviously fueled by a live experience loaded with visual arts and masterful lighting but that is the nature of shoegaze, a deliberate onslaught of flickering sound that seeks to throttle, choke and then caress back to reality. Not really my bag but fans curious about guitar sheets will love this for sure. To be followed'.. Besides, I love the artwork....

3.5 toos