MR. GIL

For reasons unbeknownst to me, this 2010 release by Mirek Gil passed by unnoticed. The music herein is so gentle, and the running time so short, that it too might escape unappreciated were it not for the striking intimacy of its production and the sense of being privy to a house concert in one's pyjamas. While not entirely in contrast with "I Want to get you back home" from 2012, this recording thrives more on simplicity and dwells more in the folk realm, like an "unplugged" disk, except of hitherto unreleased material. Suffice to say it shares kinship with earlier BELIEVE albums, particularly "Yesterday is a Friend" but is much mellower and only peripherally progressive. Again, Gil has chosen to use his solo format to express passions not fulfilled by BELIEVE.

Gil enlists trusted vocalist Karol Wroblewski as well as several other BELIEVE members in the service of this aesthetically pleasing production. While he plays acoustic guitar almost entirely, as much space is devoted to the delicate piano, cello, and vocal accompaniment. Several instrumentals include fretted instruments that might be oddly tuned guitars or mandolin, and elsewhere a few winds are suggested. The album brings to mind the masterful "Secrets of the Beehive" by DAVID SYLVIAN in timbre and congeniality, but not nearly as transcendent to be sure. I am also reminded of a Canadian folk singer/songwriter from bygone days, STEPHEN FEARING, one of those "most likely to" artists who never quite completed the sentence.

"Easily" offers flutes (synthesized or not it's unclear) and caressing emotive vocals over strummed guitar; "Annah" is given over to piano and sedately whirring cello, with touching vocal harmonies. "King of Gold" was released as the video and would have been an automatic hit for a bigger artist. Here Wroblewski and the piano accompaniments are more emphatic, and the melody is even harder to shake. Later, the title cut seems to invoke a more whispered "Forbidden Colours" by the aforementioned Sylvian.

While I much prefer this to "I want to get you back home", I suspect once again that the average prog listener might be underwhelmed. If, however, the synopsis suits, then by all means shine "Light and Sound" on your spirit. 3.5 stars rounded down.

While Poland's Mr. Gil would perhaps generally be regarded as neo-prog, their latest release, I Want You to Get Back Home breaks from the standard and presents a collection of quasi singer songwriter tunes that are extremely laid back and majestically orchestrated. Don't be expecting 'dude with a guitar' type music here, although this does remind me a bit of the 'indie' thing. That out of the way, and the fact that I usually hate this type of music, I was thoroughly impressed with Mr. Gil's arrangements. While the songs are generally more 'indie' and less prog, I honestly cannot complain about the production of the album, the performances, or the orchestrating, all of which are magnificent and fit the music perfectly. Mr. Gil delivers heartfelt and emotional vocals backed by an assortment of piano and strings which provide lush atmosphere and texture as a background for well delivered vocals. For the most part, the songs are pretty somber, which I'm a fan of; however, my only complaint is that they don't seem to present enough variety for me. At the same time, I suspect that people who are fans of this genre would probably disagree with me on this point. In the end, this kind of music isn't really of album that I could sit straight through, devoting 100% attention from start to finish, it's perfect for a randomized playlist and would give good variety to any collection. Although it's not an 'essential' prog album, fans of the genre will probably absolutely love this one.

Since the end of the 90's, as Collage's days faded, Mirek Gil was searching for a fresh start in his career.He borrowed his undenied guitar talent to Satellite's debut, the band of his former Collage bandmate Wojciech Szadkowski, and finally in 2005 he established his new act, Believe.And in 2010 Gil revived his solo career with the help of his new bandmates: Karol Wroblewski performs on vocals and Przemysław Zawadzki on bass along with his old friend Wojciech Szadkowski on drums.The new album ''Skellig'' was released on the Polish label Oskar.

A very atmospheric album along the lines of Polish Art Rock, ''Skellig'' moves between melancholic and more upbeat tunes with Gil's guitar always in evidence.Unlike ''Alone'', the new album contains no keyboards at all and it is entirely sung in Polish.The most obvious influence seem to be mid-70's PINK FLOYD, with the music alternating between light psychedelic textures and more melodic lines, combined with the fundamentals of Polish Neo Prog: scratching electric solos, deep and expressive vocal lines and changes between mellow and heavier passages.Some tracks are quite long, despite the lack of instrumental flexibility, and these are structured around long solos, careful rhythmic tunes and intense vocal deliveries by a talented singer.Gil prooves his talent once more, producing memorable pieces with a fair sense of atmosphere throughout, while his unmistakable guitar touch is always present, from the sharp riffs to the excellent solos to the softer acoustic moments.The recent trend of Polish bands, the distorted vocal and guitar parts, is again present in the album, used in a clever way, that makes the music even more atmospheric.

Very good work for anyone searching for some really beautiful and deeply atmospheric stuff.Nice guitar melodies, inner musical soundscapes and some amazing lyrical moments.Recommended.

Every Mr Gil album has been dramatically unlike the one preceding it, and "I Want to get You Back Home" maintains that level of consistency in flux. While his other recordings traced lineage to the top notch neo prog from whence he came, this one is a uniformly soft rock venture, an eclectic synthesis of romantic music from the crooners to the big hair bands, waving at 1970s sensitive singer songwriters along the way, and beyond.

The instrumentation is rarefied, mostly piano and cello, with Karol Wróblewski's vocals that continue to improve with each release, and which play a more important role than ever on this song oriented offering. Gil is obviously a fan of a wide variety of music and prefers to indulge all of it in his increasingly noteworthy career, and here his guitars take a back seat to the others as he focuses on songwriting and meticulous arranging. I have a few favourites - "Time", "Find Me", and "Good Night", but yours are just as likely to be different.

While lovely in its own right, it's not an album to inspire awe whether you are a progressive purist or not, but an album to appreciate during quiet times at home. Don't bother syncing it to your ipod or bringing it into the car. This is a homebody.

Soothing

Mr. Gil is essentially a vehicle for the solo output of Believe (and ex-Collage) guitarist Mirek Gil. Gil has been releasing albums under the Mr. Gil name since 1998, with three of the four to date appearing in the last 3 years. Gil is not someone who insists on doing everything by himself, but brings in suitable musicians for each album according to the style and mood he intends to capture. That said, the line up here is unchanged from the previous album "Light an sound".

"I want you to get back home" is a soft, melodic set of songs linked by a common theme of a homecoming, and the challenges which come along with the joy of such an event. To convey the required atmosphere on this occasion, Gil calls upon gifted vocalist Karol Wróblewski (Believe), keyboards player Konrad Wantrych (Believe) and Cellist Paulina Druch. Wantrych's duties are largely confined to piano, with even Gil's fine lead guitar playing being relatively rare. Also notable is the absence of a rhythm section (bass or drums) although drums do make a fleeting appearance on the final song "Come home". Indeed it is mainly Wróblewski who is allowed to shine here, his delicate vocals (his vocals here, and indeed the mood of the album, reminds me of Mick Stubbs work with the fine band Home) being exactly what is demanded by the nine songs on the album.

Rarely does the music become intrusive, this an album to be savoured in a dimly lit room when the opportunity arises to let time go lightly. The combination of cello and piano which prevails throughout is soothing rather than challenging, allowing the mind to wander while absorbing the mood.

Fans of Believe and indeed Collage will already be aware of the emphasis placed by those bands on melody and musicianship. They should not however expect references to the fine neo-prog in which those bands specialise. This project is about as far removed musically from that genre as it is possible to be. What prevails throughout though is Gil's passion for his music, and his ongoing ability to create genuinely captivating albums.

MR. GIL is one of the creative vehicles for Polish composer and guitarist Mirek Gil. Initially set up in 1998, this band-project was revived as a recording venture in 2010 following a decade or so of silence. "I Want You to Get Back Home" is their fourth production, and was released by Metal Mind in the spring of 2012.

Mr. Gil's latest album "I Want You to Get Back Home" isn't one that will appeal to dedicated fans of progressive rock, as it is a production rather far removed form this stylistic universe. But if gentle melancholic ballads are dear to you, and you tend to enjoy a blend of high quality lead vocals and melancholic cello supplemented by careful acoustic guitar and piano then this effort is one you should check out. It is a fine example of this type of music, and should have a broad appeal, in particular amongst a mainstream oriented audience.

Fans of Mirek Gil's dramatic electric guitar solos might be surprised by this album of lite jazz- rock songs more in the vein of some of Paul Weller's STYLE COUNCIL albums. I know I was/am! But, I LOVE IT!

Piano-based, cello throughout, great vocals, and lots of catchy melodies and beautiful harmonies. And Mirek Gil playing acoustic guitars. Only. No screaming, wailing solos.

And no drums!

At times the vocalist, Karol Wróblewski, has some striking similarities to TIM BOWNESS-- stylistically. The big distinguishing difference lies in the intricate and unusual harmonies floating and popping in all around the headphone listener. As a matter of fact, it's the harmonies that keeps me coming back for more, they're so different and . . . unexpected.

A low key, mellow album that is less prog than experimental--for Mirek. Harkening back to bands like AMERICA, CROSBY, STILLS & NASH, the soulful side of LENNY KRAVITZ, TOM POWERS, early ELTON JOHN ad BILLY JOEL. Recommended most for the unique vocal harmony stylings. Also, if you like acoustic music, vocal dominated, with piano, cello and acoustic guitars doing all the instrumental support, this is a beautiful, soulful album for you. Bravo, Mirek! You have guts! I wish you all the glory and success that you deserve. (You, too, Karol! Great job!)

I'd give this five stars but as it is not really a progressive rock album, it is not really fitting. Still, highly recommended. Beautiful music!

Favorites: "Fix My Arms," and each of the first four songs, "Time," "Our Shoes," "In Your Heart," and "Find Me" are all sublime.

To implement Polish lyrics is a courageous act and sounds unusual. When thinking in terms of prog, Mirek Gil offers songs here which are a tad more mainstream infiltrated than his other work. Musicianship is excellent beyond doubt, the compositions though are relatively simple and sometimes lack of lushness - one reason is that keyboards are totally missing. Of course Mr. Gil is more present on the other hand with multiple overdubbed guitars, often acoustic which serves a folk feeling here and there.

The album is well wrapped up by the best exemplars so to say. They start with the title track which could be easily taken for a Believe song too ... unless you notice that Karol Wroblewski sings in native language. Melancholy based on repetitive melodic patterns - well done, crowned by his impressive voice as usual. Czas I Ja starts relaxed, but then suddenly explodes where Mirek shines with several guitar layers and proves his exceptional talent. So the bands rocks really, based on a heavier attitude - an impressing finale. And the second half of Odmieniec is decorated with a long instrumental excursion which is quite nice. The other songs are halfway decent only in my opinion, this impression does not change after several listening sessions.

Dead battery? 'Skellig' is quite modest in its entirety, compared to his other work with Satellite, Collage aso. I have listened to Believe's convincing new album 'World Is Round' intensively before and I'm under the impression now, that Mirek Gill introduces some weaker compositions from his huge collection here. This can't really thrill me - less prog substance - more straightforward arrangements. Anyhow, still a proper album comprising some nice songs ... something for fans and collectors in any case. I only recommend to adhere to the aforementioned bands first before plunging into this.

Well it is a comfort to know that Mirek Gil and Wojtek Szadkowski are still friends after all, which means that maybe one day we will see COLLAGE reform and produce a sequel to "Moonshine". The virtuosic drummer of SATELLITE and other offshoots joins the now equally prolific Mr Gil for Gil's second "solo" album and first in a dozen years, and, even if I'm having trouble understanding where one project ends and another begins, I'm having fun trying.

If you have been following Mirek's main group BELIEVE, you will know that he has issued 3 rather different albums under that moniker and, while the last was the most disappointing, he has returned more to the sound of "Hope to See Another Day" and "Yesterday is a Friend" for this release, with several significant differences: the vocals are by the latest Believe singer, the lyrics are in Polish, and all sounds other than drums and bass emanate from guitars.

While Gil wisely employs acoustic guitars for variety, this is definitely a rock album in which he pretty much sticks to his viscous Frippian style, yet somehow encourages enough variety through vocal and tempo changes to generally maintain freshness. The title cut might be the best of the lot, calling upon both his highly melodic and grungy instincts, while "Otwieram Drzwi" isn't far behind, beginning pedestrian enough, with even processed vocals, but just shy of the three minute mark it adopts a more weathered and nostalgic quality, where one can imagine Believe's violinist contributing fills. "Druga Północ" is a somewhat mellower cut more reminiscent of what Believe captured on their second and best album, although it does culminate in a heroic solo. It's a major tribute to Gil that he can concoct such a richly symphonic mix just with his guitars and crafty exploitation of a rather average vocalist.

While this disk is a winner by almost any measure, Gil's insistence on adhering to a particular school of guitar means that it's not for every mood, and even when in the mood one might be hard pressed to tolerate some of the more tedious and droning leads of "Mnie tu już nie ma" or the mealy folk-pop of "Rzeka".

If you are hesitating about this disk because you weren't a fan of the first Mr Gil album from so long ago, I'm here to say that this has much more in common with Gil's recent output. It's a portfolio of his harder hitting work, yet balladic at the same time. Such a sensitive balance can only be achieved by a few masters, and after 20 years at the forefront of continental neo progressive rock, this fellow has earned the right to be counted among them.

I really wanted to love this album! After reading the review by Tarcisio Maura earlier in the year, my excitement was high. Mirek Gil is my favorite guitarist of the last twenty years, and the Polish prog scene one of the most interesting and engaging during that same period. However, though, yes, Mirek is present--very present--and, yes, his distinctive wailing guitar sound is present--sometimes in triplicate--still, there are too many times when he disappoints: holding back, it seems; when you expect him to let loose in one of his frenzied, emotional solos, he just . . . doesn't. The solo in song 6, "Druga pólnoc" and the intro to song 7, "Czas i ja" are the only two times he comes close to letting go. A lot of time and effort is spent establishing repetition and melody/hooks with his lead guitar time; too much time and effort are spent showing restraint, trying to exhibit some kind of cool control, when I just want him to go [&*!#] crazy! (as we all know he can.) Luckily, the songs continue to grow on me--again, as his songs tend to do. I guess I was just disappointed at first listen because I wanted so much more. (I really was more enamored of the drumming and vocals in Polish.) During the second and third listens I must admit I heard much more of the beauty of the arrangements (mostly layered acoustic and electric guitar riffs), the melodies and harmonies, the vocals (I love singing in one's own native language). As I mentioned, the drumming (kudos Wojtek Szadkowski)--and often intertwining bass playing--are among the most consistently interesting themes of this album. And, Gil's guitar riffs are good; it's just that they could be . . . better! And, though I miss the lead guitar and keyboard interplay, I must say that the absent keyboards are not missed. (This aspect of the album gives it a feel similar to that of David Gilmour's second solo album, "About Face.") Every successive song seems a bit better, a bit more close to the Mirek Gil we know and want; it's just that the emotional highs are rarely there. More in the drums or vocals than the lead guitar work.

1. "Skellig" (8:46) 
The opening song is beautiful, inviting, captivating; Gil's acoustic and lead guitar work are bold and beautiful, simple and almost cocky, the vocals very engaging. The bass and electric guitar rhythm section kicks in very effectively at the 2:50 mark. At the 3:50 mark the chorus first ensues with vocals and electric guitar lead dancing a very beautiful duet. The second chorus is followed by a lovely, long, vintage, if subdued, Gil solo. Backed by background choir and wonderful work from the rhythm section--who, fittingly, get to close out the song. 7/10

2. "Mnie tu już nie ma" (5:10) is a beautiful, emotional, perhaps sad filled with lots of simple instrumental subtleties, like upper register bass play, harp-like acoustic guitar picking, delicate cymbol play, and lots of creative traveling across the toms. Here Mirek chooses to use his lead guitar to provide a very steady (one might say, repetitive) background for some stellar drum and bass playing. In fact, this song seems to have become a set up to display the excellent drum and bass play. 7/10

3. "Otwieram drzwi" (5:57) 
is the first song to really show a little of Gil's old heavy/neo prog roots?more use of thumping bass and electric power chords with a touch more volume on his lead. The vocal work here shows some weakness in the ability to deliver the higher end power; he seems to excel at the delicate, more ballad-like singing. Once more I find myself more drawn to listen to the drum work. The lead soli begin with a brief one at the 4:00 mark which is notable for the layering of two different tracks playing over one another. Trouble is, none of these soli "go anywhere." 6/10

4. Rzeka (3:20) is a short, very standard rock song?sounding very similar to MIKE & THE MECHANICS' big hit, "In the Living Years." Nothing special here. 4/10

5. Odmieniec (9:20) tries to rock out in a kind of BAD COMPANY "Ready for Love"
way but the best part of the song are, in fact, the very delicate vocal section that precede GIL's first guitar solo and the soli themselves which finally, nearly, live up to expectations--yes, he ALMOST lets go. It's killing me: It's like listening to/watching ROBERT FRIPP: waiting and hoping that emotion will for once win out over mental planning and technical execution; he gets close but never quite leaves that seat on his stool, can't quite let himself go--show his human side. Too bad. Still, this is a pretty good song--and the solo is still better than 90% of the others out there. 8/10

6. Druga północ (5:36)
is a peppy song with perhaps the album's best vocal--with a very melodic vocal chorus, and some fun acoustic, rhythm and lead guitar work. Another set of classic, catchy lead guitar riffs to hook you in, and here we get to again experience Gil layering his guitar leads (and some pretty decent ones, too). Excellent song. 8/10

7. Czas i ja (5:14) an instrumental, the best song on the album, where Gil finally gets moving, and his guitar is screaming, but it never reaches the heights we know he could go to. Again: the drums and bass deliver big time. 8/10

Love the singing and Polish lyrics, drumming bass, and acoustic guitar work, and, of course, the distinctive--you might say, trademark--sound of Mirek Gil's lead guitar. Disappointed in the lack of innovative or "progressive" elements in the music. Happy to hear Mirek Gil under any circumstances; just wish he could have been a little more emotional and less mental/scientific in his playing. 4(-) stars. A good album. (Recommendation: Give it 3-4 listens before judging it completely.)