COLLAGE

This is the stuff I imagine accompanying Siegfried & Roy's act during their mid-90s Vegas glory; lots of mist, flashbangs, sampled orchestration, glitter suits, and over-groomed homoerotic showmanship. Liberace would've liked Collage.

That aside, it is what it is. Distended by melodrama and artifice, Moonshine is symphonic rock (okay "Neoprog" if you insist) at its worst and best. The material does sometimes remind of Genesis circa 1976 but not really, and frankly fourteen-minute 'In Your Eyes' is why pop music was invented. No one needs to sit through a quarter hour of unremarkable music. Cut it by two thirds and you might have something worthwhile. Just ask Peter Gabriel. 'Living in the Moonlight' is moany '80s romantic angst and 'The Blues' is merely an extension of said material. Complex 'Wings in the Night' isn't bad but at eleven minutes is sure to leave many listeners trailing off into what they're having for dinner, and the cinematic title track is probably the most progressive thing here with many rises and falls.

A matter of taste perhaps but either way, Collage lacks a certain humanity; a rock & roll spirit that thrives on less, not more; a blemished swagger raised to glory by the skill and inspiration of men, not machines. But then one can't blame an artist for what it is they do, only the quality of it.

The 1990-1992 period was definitely the more intense in Collage's history.''Basnie'' was warmly accepted by the prog audience, leading to concerts even abroad for the band and to a reissue of the album in 1992 by Vinyl Magic.On the other hand Tomasz Rozycki left the band suddenly to be replaced by Zbyszek Bieniak.Bieniak was a great singer and songwriter but he also quit in early 92', leaving his place for a while to Jarek Wajk.1993 was even more shocking for the band.Only Gil and Szadkowski remained from the ''Basnie'' line-up.The bass was now handled by Piotr Witkowski, keyboards by Krzysztof Palczewski, while the new singer was Robert Amirian.To test his voice Collage released the album ''Nine Songs of John Lennon'' in 1993 with cover tracks of Lennon's discography, followed a year later by the first full-length album of the new line-up ''Moonshine'' on Metal Mind Records.

The new album presented two big differences compared to ''Basnie''.Amirian would sing exclusively in English, having a more sensitive and romantic voice, eventually reflecting on the atmosphere of the album.Additionally the darker compositions of ''Basnie'' left their place to less-raw and more elaborate arrangements with a more positive aura.Of course the style of Collage remained equally grandiose, bombastic at moments and quite adventurous, enriched by series of softer passages inbetween.Overall the extremely unique band's style had developed even more with an aim towards foreign markets but always delivering a pure Neo/Symphonic Rock with dramatic arrangements and a huge rich sound throughout.Dreamy keyboards alternate with bombastic orchestral passages, smooth vocal-based parts are followed by superb guitar solos, the trademark of Mirek Gil, and polished melodies are blended with a great number of breaks.More importantly Collage set the basis of what we would call ''Polish Prog'' in the future, apparently having influenced a great number of local bands.A style characterized by the lovely symphonic keyboards, the deep esoteric vocal lines, the dramatic solos and often the very personal atmosphere of Polish vocals, which are absent on this album.

A great comeback by one of the most original Polish bands.Despite the line-up changes Collage returned with an album full of excellent, dreamy and challenging musicianship, an almost classic of the Neo Prog scene and highly recommended to fans of prog in general.

Collage's third album finds the album playing in a distinctive style which is more unique to them than the heavily Marillion-inspired approach of their debut, though occasionally aspects of early Marillion or 1990s Pendragon pop up here and there. The Collage sound as of Moonshine is sweeping, dramatic, and at times (as on the opening number Heroes Cry) thunderous, with keyboards, lead guitar and vocals all uniting to create a particularly emotive and passionate work. At points the production seems to stumble a little; there are parts where the synths sound a little cheap and dated and the drum sound is a bit thin, but just when my attention begins to drift the album turns around and enthralls me yet again. I think Basnie is a somewhat more well-executed work myself, but Moonshine is a little more original so the two complement each other nicely.

There's a legion of neo-prog bands out there who take their lead from Marillion's sound during the Fish era, but for me Collage stand out as a particularly excellent one. Their debut, Basnie, is a case in point: whilst many other bands simply try to preserve Marillion's sound from whichever Fish-era album happens to be their favourite and don't really take the music forward, Collage learn lessons from all the phases of the Fish period - the angst of Script for a Jester's Tear, the anger of Fugazi, the delicacy of Misplaced Childhood and the wry wit of Clutching at Straws - and combine all of these moods (and the musical underpinnings thereof) to form the core of their sound and take it in an entirely different direction from the one Marillion seemed to be pursuing at the end of the Fish era: more raw, more energetic, and significantly more complex.

Their compositions are simply stuffed with energetic solos and performances from the band's instrumentalists, whilst frontman Tomas Rozycki's passionate and confident singing style is genuinely individual and could give most other singers from major neo-prog bands a run for their money. A brilliant debut to a career which after this was, unfortunately, rather patchy and inconsistent. Still, there was at least one more widely-embraced landmark to come.

Some prog rock, it is true to say, is not altogether emotionally uplifting. Some of it can be downright depressing, and in the genre's first heyday of the 1970's, a lot of bands released exceptionally long suites and concepts that were musically, emotionally, and intellectually challenging. I say this not, of course, as a criticism, but as a matter of fact.

If we jump forward to the neo prog explosion, a lot of bands then seemed to have to issue albums that aped that style of music, if nothing else to prove their prog credentials. The better ones got over this tendency, and began to create wholly original music and styles.

The above is stated to introduce this blinder of an album by Collage, a short lived Polish band. Moonshine is an album which drips with relentless enthusiasm, is upbeat beyond belief, and very cleverly intersperses lengthy epics with some extraordinarily catchy prog pop shorter tracks. What they proved, above all else, is that neo prog did not simply have to be a copy of the classic bands to be effective, but basically took the best of what influenced them and turned it into something deliciously original. For that, this band deserve to be right up amongst great outfits such as Marillion and Pendragon as being amongst the best the sub genre has to offer. I say this, by the way, as a huge lover of neo prog.

There is, in this album, more than a smattering of Marillion influence, certainly in the manner that the instrumental passages are constructed, and more than a bit of the Hogarth era at that, as well. Elsewhere, there are also the obligatory nods to classic artists, none more so than the longest track on the album, In Your Eyes, whose end vocal passage bears more than a passing resemblance to Gabriel's track of the same name from So. In addition, the band have clearly listened to the full quota of Camel's albums. In doing this, however, they never once sound like a cheap tribute band.

Robert Amirian's vocals are incredible throughout, and much of it, by the way, does also put you in mind of more than one post indie outfit. The chorus, and accompanying guitar burst, on Wings In The Night transports the listener to another plain.

The musicianship throughout is excellent. Palczewski's keyboard work is nothing short of phenomenal, Gil on guitar backs up Amirian's lead effortlessly, whilst the rhythm section of Szadkowski on drums and Witkowski on are about as tight and urgent as it is possible to get. For no better example of how well they play and riff as a unit, listen to the closing section of The Blues.

This is an excellent work, and the standard would be carried forward into successor outfit Satellite. Very highly recommended for all those who wish to explore neo prog outside of the UK comfort zone, and for prog fans in general who appreciate grand, upbeat, music with more than a hint of wider pop/rock sensibilities.

Four stars, and a strong four stars at that.

Collage is one of the most respected neo prog bands not only from Poland but from Europe too. They made this style to be more exposured to the public in the ,90,s and for that they got a well known fame. They released before disbanded some albums more or less great, this is Moonshine from 1994, one of their better works if not the most complet from their career and one of the better ex of smooth and greatness of this style. The album, musicaly speaking is ok, with some great and very elegand symphonic parts, even this attitude is often used here, the neo prog elements are not left aside, both style are melting each other very well, the prime ex is the openingtrack Heroes cry, I think the best piece from here. Now, as a neo prog album is very often in this scene, never breaks any rules or to be a groundbreaking release, at least for me, Moonshine suffers from same over production in this sub genre. When I first listen to the album, after finishing it I said that this is one of the another few hundred neo prog albums from this scene, repetative arrangements, specially on guitar, but aswell the vocal parts are a bit too the same on each piece, but combined with that symphonic parts make from this Moonshine to be more then an usual album after all, but nothing special either. I don,t like the mellowness of the album as a whole, the voice is too much the same, the keybords are not rounding the sound, is more like an instrument who enters when needed but rarely is very exciting in what it does, at least for me, the druming is linear and without many pretentions. With all this low points, the album as a whole can get from me 3 stars, but is the best I can give here, I know hundreds of better albums then Moonshine, and are far more less known productions. Another thing is that the album is too long, the second track of the album In your eys is almost 15 min of totaly boring and uninspired neo prog, this tune is totaly useless IMO. The Marillion influences are all over, specially the Rothery noodlings. After Collage was gone 3 memebers from here will form another known neo prog band from Poland and not only Satllite (IMO better then Collage). So, as I said, nothing really exciting here, nothing impressive or never heared before in this scene, only a fairly good release, who gets I think too much praise. 3 stars.

COLLAGE's Moonshine is full of very memorable music. There are many 'hooks' that haunt the listener hours and days after walking away from it. Containing some symphonic elements, this masterpiece of NeoProg has a few shortcomings, namely the vocals are, at times, weak, and some of the keyboards that were 'leading edge' technologically in 1994 are almost embarrassingly out-dated today. Still, the bombastic music, rare treat of frequent synthesizer-electric guitar interplay, and defining appearance of the screaming, infinite-sustain Mirek Gil guitar sound (which is, IMO, one step above that of the Master, Steve Hackett--whose "Spectral Mornings/Every Day" sound Gil was so obviously inspired by).

1. "Heroes Cry." What a memorable, bombastic introduction! And it all begins with the album's major strength (Gil's screaming guitar) and weakness (vocals). At 1:10 the poppy bridge and chorus first appear. At 3:50 we get our first treat to the talented keyboard player as he echoes himself before engaging in the playful chase-and-duel pattern so often explored with Gil's guitar. (Could it be that Gil's soli are, in fact, improved and enhanced--his efforts augmented--by the challenge and presence of the keys?) Prog doesn't get much better that this, folks! A very memorable, haunting song. 9/10

2. "In Your Eyes" opens with the dated synths to about 1:00 when piano and acoustic guitar interplay take over to back the vocal. At 2:36 a very Hackett-esque guitar riff leads to a very "Wind & Wuthering" feeling section of chords and acoustic guitar. 4:30 sees the arrival of a very high, squeaky guitar solo; at 5:30 the song shifts dramatically, till, at 6:25 the song shifts back to the Hackett-esque, "Spectral Mornings" feel. At 7:10 we see a return to previous themes until at 8:35 the song takes another completely different shift with sequencer, synthesizer, and bass taking over until 9:10 when Gil's screaming guitar rejoins. A vocal highlight occurs at the 10:25 mark with an electric guitar supported "here tonight" peak, followed at the 11:30 mark with a low register key & synth solo over some very nice drum work. Tempo picks up again at 12:00 until a stop at 12:45. Whereupon the song plays out with the very enjoyable interplay of keyboard and electric guitar. 7/10

3. "Lovely Day" uses piano and synthesized strings to establish a slow, almost poppy mood for the first three minutes. The 3:05 mark sees the most interesting development of the song with piano arpeggios followed by some electric guitar-keyboard 'gunfire.' Otherwise, a not very memorable song. 6/10

4. "Living in the Moonlight." A favorite among proggers, undoubtedly for it's Hackett-like, "Please Don't Touch" feel as well as its lyrical content. Gil's guitar work is rather subdued and moved more into the background. The "when I feel silence" sees the song shift into a higher gear of intensity, and then higher again when Gil begins his Hackett-esque solo--which he makes his own beginning at the 3:10 mark. 8/10

5. "The Blues." The highpoint of the album. Gil's guitar screams out the defining melody from the first note and climbs, with the help of some wonderful band support, to an amazing beginning song solo before dropping away at the 0:54 mark in lieu of the vocal section--a great vocal dislay, with very powerful delivery of some powerful lyrics. Great full-band interplay and support throughout this amazing song. 4:35 begins the Mirek Gil display. This is the song where he leaves Hackett in the dust and establishes his own ascendancy. Great drum and key support. I do not think that this song could be improved upon. A song for the ages. 10/10

6. "Wings in the Night" takes the first 2:25 to establish itself (fairly weakly) before finally letting some energy show (briefly). The song rather lacks from consistency--bouncing from quiet to dynamic and back again over and over while the vocals go on trampling over all parts indiscriminately. At the 7:10 mark Mirek Gil is finally set free--and boy! does he soar! The final four minutes of the song nearly make up for the floundering first seven (even if there are several moments where one might think you were in Steve Hackett's "Spectral Mornings"). 7/10

7. "Moonshine" begins as if playing Phil Collins' "I Don't Care Anymore" until at 0:46 Gil steps in and lifts it into another world--his own. Still, it takes three and a half minutes until the song finally establishes a consistent self identity--which it does, at a very high level, too. 8/10

8. "War Is Over" is vocalist Robert Amirian's rather pop-anthem contribution to the album. Very simple structure and repetitive lyric make for a somewhat disappointing song. The only real progginess comes in the song's end when Amirian's accordian ushers us out of (the) Moonshine. 6/10

9. (Bonus Track in 2003 remaster) "Almost There." This is a GREAT song. Too bad it wasn't on the original release (instead of "War Is Over"), otherwise this may have helped earn the album the five star rating it feels like it deserves. I LOVE how the vocals, keyboards and bass pace this song. Powerful! For once Amirian's lyrics (repetitive as they are) and delivery work! They provide a great vehicle for an all-out band jam?which could easily (and even happily) have ended at the 3:05 mark. But it doesn't! Instead, we are treated to one more minute of bass and drums pounding beneath Mirek Gil's superlative, screaming guitar and Robert Amirian's (background) vocal screams. Wow! 10/10

Without "Almost There" the album is a definite four star "classic"--and excellent addition to any prog lover's music collection. With it . . . ?

This Polish prog group has produced a few CD's in the 90's and stopped as 'Collage'. They reappeared, at least some members, as 'Satellite'. I have two other CD's of Collage, for which I would go for 3-stars, and the majority of Satellite, for which I would give about 4-stars each. But this one is amazing and in a class by itself...

From a musical standpoint, I could say that the keyboard is everywhere, mostly in the 'high-notes' level, always well suited and virtuoso. It brings a superb atmosphere of 'grandiose' to the songs. The guitar play is majestic, also in the 'high-notes' level, and completes the keys very well (or, is it the opposite ?). The songs vary tremendously in tempos and rhythms, and sometimes when you think they head to the conclusion, they surprise you with another burst of energy, with a theme variation that is mind blowing. And it is one of the most powerful albums I own, even if it is not metal at all ! There is also an emotional feeling that emanes from a few listenings, because it is touchy in some passages, it grows in intensity in others, the singer is very inspired in others. 'In your eyes', 'Wings in the night' and 'Moonshine' are my favorites, as I consider them as super prog gems ! They have the best ingredients : emotions, good variations, changes of tempo, atmospheric keyboards... The first track, 'Heroes cry', will get you directly into the romantic and inspired moments that you will encounter again later... The other ones are also of good quality, with no really weak tracks, which is rare. You can easily let this CD play in its entirety, the best way to appreciate that superb work and get the feeling (other reviewers here are describing this particularity very well; go take a look !). The lyrics are directed to 'positive' subjects, another good quality in my view.

This CD is a heavy good surprise, with a specific emotional sound and a high quality all over. You even question why this group has produced all the other albums with more standard and average focus, for which I do not intend to write anything !! While they reach submits here... and a lot !! So, 4 stars would mean 'excellent addition' ? No, it deserves more than that, because it is unique and perfectly produced in all aspects. In my collection, it turns around the Top-10 to 15 position...

It is a 'must', if you like different, atmospheric but powerful neo-prog stuff ! Gets the best ! To be discovered absolutely.

Decent Neo-Prog, but nothing groundbreaking.

The only Neo-Prog band I have heard thus far that I can honestly say broke new ground is Marillion. Every other band I have come across in this particular sub-genre merely mimics that sound, and most of it I find hard to listen to. Collage is a bit of an exception, I suppose, even though that over-produced, constant echoey sound to everything gets a little grating after a while. For the most part, though, this is a good album. I do break it out now and again when I have a glass of wine and feel the need for some cheese.

Let me explain . . . when I call this music 'cheesy', I'm not saying it's completely worthless. In fact, I think ALL Prog Rock is a little cheesy to a certain degree, even among the most brutal of Prog Metal. So cheese isn't really a bad thing, as long as it can be kept in check. These guys don't really go so over-the-top that it becomes laughable, or anything. The music itself is really quite lovely, and the keyboards aren't as intrusive as most Neo-Prog bands allow them to be. Everything feels very well-balanced on the whole, and plenty of heart and emotion is to be found here.

Some parts of this album are pretty heavy for it to be Neo-Prog. Distorted guitars, booming drums, and the like will come in fairly often to keep the sappy stuff in check. The piano and acoustic guitar sections are what I am most fond of, but all of the elements are for the most part well-placed and help enhance the experience.

The best song on the album is probably the first one, though I suppose among the more die-hard Collage fans, that may be disputed. I don't really like the amount of long tracks on this thing. I think they could have included less attempts at 'epics', because at times I felt like things dragged on a little too long. The electric guitar solos are bland and stock in delivery and melody. The singing is decent, and fits this type of music well. I'm not very picky when it comes to singer, except in very specific cases, so overall, the vocals and the instrumentation are satisfying. If the lead guitar stuff had been a little more varied and the length of some of the tracks been shortened, I may have even liked this more, but honestly, with this type of music, you either accept it for what it is, or you won't enjoy it at all. I at least realize what this style of Prog Rock is about, and although I am still trying to find more enjoyment from that sub-genre in general, the few gems I come across are indeed worth listening to, at least once.

''Moonshine'' is one of those cases, I believe. It won't be for everybody, and only when you have the right mindset will you fully enjoy it, I think, but it's certainly not bad, and I think it could very possibly be one of the better Neo-Prog works out there. But for me, the only five-star works to come out of it are from Marillion, and the rest have yet to come close to the same caliber.

So it's good, but nothing all that special; at least to my ears. Only invest in buying it if you like this type of music already. Otherwise, you'll find yourself wishing you would have spent the money on other things. 2.5 Stars, but I'll give it a nudge into the threes.

To me the four albums by Collage are easily ranked. First place is undoubtedly for Moonshine as it's one of the best albums ever to me. The successor Safe is obviously second placed and is a clear four stars for me. The final release Changes (actually a sort of compilation) is clearly the weakest of the four and was at best three stars (2,75). That leaves the famous debut Basnie and this is also the last one to review for me (if you don't mind me leaving the Lennon songs out of this small competition). It's number three where the quality is concerned and I had a long and serious thought about the rating. I think I will leave it at three stars due to the lack of stand out songs. And looking at the rating by others so far this is not a straightforward case by any means.

And that can be quite easily explained. If you have a soft spot for the more folky approach that is detectable on this debut (amongst others caused by the singing in their native language) you might be tempted to give four or even five stars. But I'm afraid I'm not, I only go for compositions and melodies preferably with lots of instrumental solos (hence my love for Moonshine). And that's a bit more problematic with Basnie. The songs are all relatively short (except for the title track being the best track by the way) with dominant vocals and only short instrumental bits and pieces. And on top of this the sound quality is at least questionable.

So even though I believe this debut should be treated with some respect I can't get carried away by it overall and have to limit the score at three stars here. A must have for fans though.