OVER AND OUT

Another band resurfacing after a generation of absence only to rehash its old sound. Don't get me wrong: it's a great sound (except for the 1990s-sounding keyboards--something I've always complained about--even in the 1990s when my brother was collecting keyboards), lush and beautiful--with highly emotional, loud lead guitar leads and very pleasant vocals--but it is a sound that the band made a name for itself in the early 1990s, nothing new, nothing more; I was hoping so much to hear something new, something fresh, instead of more of the same old. (I guess I'm one of those music listeners: not wanting more of the same from a band but wanting to see/hear them grow, experiment, take risks, explore, reinvent themselves, instead of rely on one sound for their "gimmick.")

A song-by-song review will probably be added to this posting later, but for now let's say that this is a great sounding album of nice songs that all feel like I've heard before (minus the nice lyrics); a NeoProg band retro-ing themselves! I may change my mind, but it's very difficult for me to reward bands that "update" old stuff when other bands are working so hard to create fresh, new music.

Four stars; a nice addition to any prog lover's music collection--especially if you love the old Collage sound from the 1990s.

Progress or not to progress? That is the question!

After more than a quarter of a century after releasing a masterpiece of music in Moonshine, Polish prog band Collage have returned from the ashes to offer a new album. The follow up and final album Safe came out in 1995 and the band promptly dissolved. Legendary guitarist Mirek Gil went on to ongoing fame with projects Believe and Mr.Gil , while the remaining crew formed Satellite, as well as a slew of related groups like Travellers, Strawberry Fields and Peter Pan. When Over and Out finally emerged from the fog of the past, it was obvious upon first listen that the Collage sound was deemed to be preserved. Not surprising as drummer Wojtek Szadkowski has long been the main composer, along with keyboardist Krzysztof Palczewski as well as bassist Piotr Mintek Witkowski. New singer in Bartosz Kossowicz, who sang with Quidam , another founding Polish prog act, while Michal Kirmuc fills in the big Gil boots , as the melodic guitar style really does make Collage tick. Some have expressed a disappointment with the maintenance of that classic sound, which after 27 years is clearly retro, and it is understandable to always look towards something fresh and new. But this is why Wojtek and crew decided to revive the Collage stylistics, because had they opted for a different tone, it would have been better to create a new band name and moniker. As much as I dislike labels, the truth is that a band is a brand after all. Imagine if Metallica put out an ambient folk synthesizer album with a high-pitched female vocalist who whispers seductively? It isn't Metallica! Called it Velvetica then. The hallmark attributes that made Moonshine such a success was the absolutely whopping melodies, the passionate vocals, the sweeping synthesizers, and Szadkowski's rather remarkable drumming. Mirek Gil has a guitar style not far removed yet still different from Steve Hackett and Steve Rothery (who guest here on the final track) in that sustained powerful notes can be devastatingly effective in expressing emotion. Its all here, and in spades.

Kicking off with a massive 22-minute title track epic is quite the ballsy move, a beeping cardio monitor is a humorous wink at resuscitation as the ominous mood sets in, piano and synths in full glory, as the rest of the crew enter the fray, particularly Bartosz' exalted whisper that can turn into a shout at a moment's notice. The fluidly aquatic guitar line is captivating as the arrangement follows peaks and valleys, familiar yet with a sense of urgency that is undeniably attractive. Szadkowski certainly proves once again that he is the masterful drummer, pulsing, propelling, and pummelling wherever needed. The classic Genesis visits Marillion tendencies are there, unashamedly vibrant and glowing brightly. With lyrics such as " The moon is the mirror of the sun", the band clearly connects with its proud legacy, the drum and synth interplay provoking raised eyebrows , while the electric axe solo shines brightly into the moonlit night! Its like opening a vintage claret and enjoying every single earthy sip. This is definitely "feel good music", as if some kind of musical celebration of life's renewal after 2 years on isolation! Palczewski has a lovely piano spotlight that warms the heart as Bartosz croons gently. This segues into a stunning acoustic guitar melody of absolute beauty, joining the ornate piano as the piece evolves into a vortex of passion. The finale is bombastic and explosive with some seriously agonized screaming, capped by a ranting and wicked guitar lead. There is nothing sloppy or even predictable here, all is crisp and exciting, just like all good epics! Follow that up with a drop-dead extended ballad in the finest tradition of the majestic "Living in the Moonlight", a fervent vocal evocation that has grandiose stamped all over it, twinned with a sublime melody for the ages, "What About the Pain" is surely the finest ear candy! But again, this is not bland or saccharine at all, loaded as it is to the gills with gritty edge, grizzled agony, and voluptuous liberation. Screeching guitars, mountainous keyboards and thunderous drums really take this piece into the stratosphere! When the child choir appears, the heart is slain. Kirmuc unleashes a writhing guitar solo, elevating this to the loftiest heights. Utterly gorgeous. The lovely piano intro on "One Empty Hand" should penetrate anyone's soul like a hot knife in butter, a melody so overwhelming, it must be sheer genius, as it raises immediate goosebumps. The harrowing vocal is compelling, intense, and convincing. Twirling, fluttering, and shimmering, the axe just lights it up, insistently persuasive. After such an onslaught, maybe its time for another mid-sized epic? "A Moment, A Feeling" chooses a more contemplative intro, ratcheting up the atmosphere with some rapid-fire arrangements that defy gravity (these lads know how to play!), weaving, diving, soaring, gliding, and leaping as if the devil was running after them. The gargantuan keyboard waves find a strong association with the resolute rhythmic percussives, constantly pushing, perhaps even shoving the mood along, to desperate elevations. The guitar just adds to the dazzle. The impeccable vocals confirm once again the crafty quality of the emotions displayed. Deliriously tasty. The gentle finale has the blessed presence of Steve Rothery, as if to stamp this fine release with even more accreditations. "Man in the Middle" pays homage to the famous Marillion, very much in their vein stylistically, especially vocally where Bartosz evokes his inner Fish/Hogarth, a mix of anger, whimsy, bitterness, and unbridled desire. The dexterous guitar shines brightly, scintillating, dazzling in its simple audacity. Brilliant, just brilliant. The beeping monitors brings on the silence.

Maybe formula for some, but this baby sure likes the nourishment it provides! This arrived on December 2, shooting up the ranks of the finest 2022 prog albums. Finally, Moonshine has a partner to play with. It was about time. Beautiful cover art as well.

5 montages

Having formed almost four decades ago, COLLAGE proved to be Poland's answer to Marillion through the 1990s with its larger than life synthesizer attacks and sweeping guitar licks. The band was clearly in league with the greats of neo-prog having crafted four albums in the 1990s with 1994's "Moonshine" reaching classic status. Like many Eastern European bands of the era though COLLAGE never really garnered the attention they deserved and have remained somewhat of an obscurity until now!

The band formed as far back as 1987 in Warsaw and stuck around as late as 2003 despite the band's last album "Safe" emerging in 1996. The band reformed in 2013 abut hasn't released any new material. Until now! OVER AND OUT may only be the band's fifth album in nearly four decades of existence but give me quality over quantity any day and OVER AND OUT delivers the neo-prog goods in a way only a bunch of seasoned veterans can.

Despite new vocalist Karol Wrobleski taking on the lead singing roles since 2013, COLLAGE still has the template of the Fish-era Marillion days which has been both a boon and bane of its existence. Perhaps not the most terribly original band on the scene there is no doubt that COLLAGE has crafted this particular style of 80s neo-prog and picked up where Marillion left off and in a most grandiose manner. OVER AND OUT is a powerhouse of explosive neo-prog that delivers tight energetic performances drenched with dueling guitar and synth runs along with beautifully extended passages. Amazing feat considering the 27-year gap between this and the last album.

The opening track delivers what prog dreams are made of, namely an epic sounding behemoth of a track that is just shy of the 22-minute mark. Tinkling piano melodies, a passionate vocal performance and epic synth-laden grandiosity is what makes this opener instantly addictive. The Mark I era of Marillion may still be the dominant inspiration in COLLAGE's musical mojo but the band does indeed succeed in sounding just far enough removed to exist in its own little branch of the neo-proggo-sphere. And while the opening title track certainly steals the limelight with all the grandiose prog pomposity the album doesn't let up and continues delivering the goods.

Layering synth motifs and gentle breezy guitar parts are only one part of making a great neo-prog album. Existing in the more pop-laden section of the prog superstore, this is a genre that simply must capture your heart with irresistible melodic hooks and OVER AND OUT goes above and beyond the call of duty in mustering up some of the best ear heroin that prog has to offer. In addition COLLAGE has avoided all the pitfalls of sounding cheesy which melodic bands can often fall victim too. Kossowicz' vocals are tender yet forceful and offer a nice range of emotive displays. What puts this album over the top though is the amazing synthesizer works of Krzysztof Palczewski who works perfect in tandem with the guitar work of Michał Kirmuć to craft a larger than life effect.

It's been a long haul for COLLAGE and it's always exciting to find a band from so long ago make a triumphant comeback that matches their peak performances so many decades ago. Judging from OVER AND OUT it seems that COLLAGE is only getting warmed up for their comeback as this album has retained the energetic surge of energy that neo-prog has been delivering in the 21st century. Poland may have produced a number of neo-prog bands ranging from Satellite and Quidam to Abraxas and Millenium but has never really caught on in the English speaking world in terms of popularity however after experiencing this magnificent melodic gem by COLLAGE's comeback 27 years in the making i wouldn't be surprised if this band's time has finally come. Great stuff here. Passionate, dynamic excellently executed.

I am pretty sure that if you asked the average proghead who is the best band in Poland, even though there are a great many vying for attention, the answer would be Riverside. Now, that is understandable given the quality of their albums, especially the early ones, but what many will not know is that in 2003, the year Riverside released their debut, the band Collage called it a day. At that point they had not released an album since 1996, and one of their four releases had actually been a covers album (their take on songs by John Lennon), but the two either side of that, 'Baśnie' and 'Moonshine' are masterpieces. Fortunately for me I was/am close friends with Artur Chachlowski who furnished me with the albums, and I was blown away and was really upset when they broke up as they still had yet to be recognised for their true worth.

Apparently Collage reformed in 2013, and now only nine years later they produced their fifth album, just 26 years on from the last one. Krzysztof Palczewski (synthesizers), Piotr Mintay Witkowski (bass) and Wojtek Szadkowski (drums & percussion) are still there, while vocals are now handled by Bartosz Kossowicz with Michał Kirmuć on electric & acoustic guitars. It is somewhat strange to see Collage without Mirek Gil, but they had been through a few different singers. Mirek may not be there anymore, but in some ways, it is as if they have never been away. They were always influenced by classic Marillion-style neo prog, and I had to smile when I realised Steve Hogarth has guested on one track, giving the full stamp of approval.

This is an album designed to make neo proggers incredibly happy, five songs, total running time of just under an hour with a couple of nice lengthy numbers including the opening title cut which is more than 20 minutes long. I am sure there are many who will say this is looking backwards instead of forwards, but I am actually quite happy with that ? the underground scene of the 90's when it was difficult to discover anything about the genre was very special in some ways, and it was this which meant that Collage never gained the acclaim they deserved. Well, they are back, and hopefully this album will find them gain many new fans who will also then look back at their earlier albums and wonder why they never came across them before this. Welcome back guys don't leave it so long until the next one.

Though the gap in releases by these Polish legends has just been reset after 26 years, one could be forgiven for not missing them all that much since their legacy, mostly engraved by the classic MOONSHINE from 1994, has been lovingly maintained in the interim by the likes of SATELLITE, BELIEVE and MR GIL. While their influence from early MARILLION has always dogged them, this formidable family of bands with interlocking members connects with me to a much greater extent, and with this comeback COLLAGE pay homage to their younger selves in their various guises, while grafting influences from bands like ALBION and MILLENIUM who might not have existed without COLLAGE in the first place. With 3 of the 5 previous members and a guitarist who could easily slot in next to the great Mirek Gil, not to mention the ever astounding leader and drummer Wojtek Szadkowski, this can't miss scenario absolutely delivers.

The album opens with the longest track in Szadowski's canon, the ambitious and suitably dramatic title cut with many phases of keys, guitars both acoustic and electric, and emotive vocals by newcomer Bartosz Kossowicz, who recalls the Robert Amirian days but with his own fresh personality. With a start like this, where can one go but down? Yet somehow "What about the Pain" is even better, recalling the best of the MOONSHINE album, and "One Empty Hand", beginning like one of MR GIL's soft ballads, evolves into a monster epic in their best traditions. "A Moment a Feeling" is only slightly below this level, not quite as engrossing and cohesive, but "Man in the MIddle" is truly the weak link, Steve Rothery's contributions notwithstanding, It's plodding and low energy, but maybe it's there to gain some MARILLION fans?

Does this spell the start of a new era for COLLAGE or is it a one off? Regardless, "Over and Out" proves that COLLAGE and its branches are neither. Sooo happy!