STATE URGE

State Urge is a band that on this album alternates between atmospheric laden material not too far removed from the Porcupine Tree's of this world, elegant neo-progressive rock and classic heavy prog complete with gnarly guitar riffs and organ coating. In this case going from one to the other rather than combining aspects of these more often than not, and with a tendency to shift towards a more generic melodic rock expression at times too. A decent production as far as such creations go, and if you tend to enjoy bands of this specific nature this is an album that merits a check at some point.

Three stars, no more.

All the songs are highly polished (sorry, I could not help myself) gems, whether harder edged cuts like the omnipresent title track, the relentless and organ-doused "Revival" or melodic outbursts such as the sublime "Liquid Disease" and the magnificently dramatic "Cold as a Lie". On the Opener "Confrontation", the mood is set for the imminent pleasure ride and no holds barred prog is delivered with both grace and pressure. The sparkling keyboards rev up a rocking engine that gets all bristling with energy, an almost punky edge full of desperation and collision, the lyrics clearly identifying the age old skirmish between love partners. Besides the obvious progressive references, there is also a hint of bands such as Killing Joke, Ultravox, Magazine and The Stranglers, which is a no mean feat by any stretch.

On the previously mentioned "Revival" the moody arrangement goes from a jagged and jumpy Hammond fueled imbroglio to a mid-section that is bar-room jazz lounge and back to a vocal hymn that just makes the head spin. The hissy temperament is aggressive and despondent, silk mixed with stone, anger and hope all intertwined. Needless to mention, the soaring axe solo is utterly spellbinding.

On the 7 minute "Liquid Disease", the intricate guitar work takes a front row spotlight, hot and heavy as it weaves across thumping beats and guides the slippery synths along for the journey. The lyrics are appropriately bleak and somewhat angry, perhaps influenced by Steve Wilson's rose colored glasses. Unearthly intro that morphs into a buzzing riff rife with tension and electricity, the spiraling rant loses control, a roller coaster of confusion and lingering damnation. The punky nihilism is entrancing, a comatose enquiry about the human condition that goes beyond platitudes and intensifies the shock to the system. Again the guitar work, though simple, really expresses a quiet rage that is quite flattering!

The trepidation that permeates "Cold as a Lie" is enough for me to swoon over, a melancholic ballad that has a swooping vocal, swamped in old school prog dynamics (Procol Harum, Tai Phong and Spooky Tooth) as the rolling organ permeates the arrangement buoyed by a sulfurous melody that stabs you deep in the soul, the almost U2-like clanging electric guitars that highlight the unfolding drama are wholly sublime. Overwrought, vivid and grandiloquent, this is a fascinating piece of melodic fantasy, immediately seizing one by the emotional jugular, a fine companion to the romantic elegance of "Long for You". Cieslik's vocal is a paramount trait as well. Bravo!

A rousing organ introduces a longer track, the rambling and seductive "Midnight Mistress" which will delve into more mysterious climes, where a dense sense of foreboding and youthful anger is all wrapped up in one delirious slice of progressive magic. There are even tubular bells used to add some spectral depth to the rhythmic onslaught. The deliberate premise is an extensive dirge-like hymn that provides Cieslik with a long solo spot to show off his particular tense style that combines hints of Fripp, Page, Box and The Edge. Then ivoryman Tarkowski does some nasty things to his frothing organ again, a powerful finale. Impressive.

Another softer song, a musical trait that this band does also rather well, the fragile "New Season" has a guileless initial configuration, introspective vocal and acoustic guitar to enchant and a lovely Spanish guitar solo to follow and a sudden symphonic chorus that involves the entire Gdynia crew, sailors setting sail into the Baltic sun. Cieslik blows a masterful solo from his axe, raising the tension even more. Brilliant.

The colossal "Before the Dawn" is all about sullen delicateness, a tubular cocoon of sound that oohs and aahs along, subtle and manic, fueled by torrential choir work and a pummeling drum attack that careens and quakes like some apocalyptic storm.

The finale is the stupendous epic "More", a 10 minute + workout that ultimately encapsulates what this band can accomplish. Far from premature and impatient, the quartet weaves a slow burning sizzler that keeps rising to alternate levels, like some prog elevator, slowly building up a frothy tempest of sound. 'Nothing can bring us down' intones the mercurial Marcin! The fascination stems from fusing unpretentious stylistics and configuring a whopping sense of drama and theatrics into the diabolical osmosis. The choir-heavy chorus is pushed along by a fizzling guitar that seeks no immediate conclusion, the heavenly voices brewing sweet hypnosis. A sensational finale.

State Urge is a young yet mature band, similar to their Italian companions Unreal City, who seek to pursue fresh and vibrant progressive configurations, crafting quality pieces that rock and also challenge the senses. They are, in my humble opinion, the torch bearers of the future, I can only drool at what they might come up with next. Two quality albums back to back is no mean feat.

5 battles

I'd say that ''White Rock'' is another word for describing modern Polish Prog with the recent bands trying to find a balance between the past principles of COLLAGE and the heavier atmospheres of RIVERSIDE or PORCUPINE TREE, as ''White Rock experience'' contains both dramatic and more optimistic pieces, both contemporary and vintage prog values.Imagine a mix of Atmospheric Rock, Neo Prog and Heavy Rock in mostly accesible arrangements, which still burst a feeling of genuine instrumental sophistication.Their stuff is all over the place, featuring powerful, electrified tunes, flashy keyboard work, theatrical or more conventional vocals, organ-drenched rhythms and emotional guitar solos, sometimes you can find most of these elements in the same piece.And that was the real deal for the band, to succesfully meld these different branches into tight and cohesive songwriting and instrumental stability.They've done it pretty well, they even have a Pop flair during the sentimental moments, and their stuff is a trully pleasant listening experience.They mostly remind me of MILLENIUM at the point they became more versatile, introducing electronic elements, a stronger FLOYD-ian influence and sharp guitar melodies in their music.And there is also some really ''rock'' mood in the album with all these edgy guitar riffs popping up here and there among the more artistic or grandiose orchestrations.

You want to find out what ''White Rock experience'' is all about?Prepare yourselves for some angular, diverse and lyrical Prog/Art Rock with emphasis on grandiose arrangements and clean voices.Recommended.

The material is exemplary, vividly cinematographic, thought provoking in mood and texture, though there is no piece longer than 8 minutes, which is quite a feat, each song rich with gripping notes and colossal construction. The instrumental 'Third Wave of Decadence' kicks off the festivities with grumbling synthesized effects, trembling axe shimmers, insistent piano and wide electronic colorations. Bombastic and monstrously elegant, the flow just ignites a profound sense of sonic expansion that draws immediate smiling tendencies.

Most tunes rock hard such as 'Preface', a hard almost punk ballad that bruises with incredible rage and power, Cieslik showing off some immense pipes while Tarkowski unleashes a thundering organ flurry that will drop your jaw. There is no specks of cereal in this can of dog food (to quote Uncle Frank), just meaty, lush, angry white rock music that would satisfy the bitch in you.

Delicate Chopin-like piano introduces the majestic 'Time Rush', another ardent collision between soft elegance and taciturn obsession, with a momentary lapse of reason by infusing a quirky sense of playfulness, crested by a momentous guitar solo that aches, screams and howls mercilessly. This is quite a display of progressive craftsmanship.

Of course, all this unrepressed angst needs a little two-pronged assault on one's senses, so why not offer a gorgeous ballad, hushed and pained vocals (here the Steve Wilson influence is quite evident), a chorus that convincingly belts 'I Long for You' while the synths twirl in the ether. I am thoroughly gaga, a romantic prog song has always been my weakness and this one sends an arrow deep into my Achilles heel. Modern beat with electronic drums kick this puppy into interstellar overdrive, fading nicely into the album's highpoint, the scintillating 'Illusion', an 8 minute groove adventure that would suit any motion picture production. Washes of dense electronics, pulsating sequencers, insistent and reptilian bass and slashing guitars all combine to slam you between the ears and ask for your abject and unconditional surrender. The mood veers into high density space rock dimensions, an offering of screeching axe howls that are almost unbearably perfect. Speechless!

'Tumbling Down'. Broodingly raspy guitar presents Cieslik's voice sounding almost like the legendary Paul Rodgers of Bad Company fame, a compliment of the highest order believe you me, which suddenly morphs into a sensational Led Zeppelin-esque tribute with its surly guitar solo, both nasty and bluesy, a harder version of 'No Quarter' comes to mind, with soft front and end sections. Damn unbelievable!

After recovering from all this pleasure where you almost feel like in need of a shower after such a barrage of great songs, white rock shows no mercy or desire to loosen the grip on the prey (yeah, you, buddy), a looping bass leads the ultra-pleasant voice into another dream cycle on '7:Gaze', churning organ and depth charge riffs tumble at you without any sense of pity or let-up. Drums smash pumpkins with unrelenting menace, raucous guitar that rekindle images of Montrose, Bad Company, Trapeze and Foghat. I kid you not, all in a proggy veneer.

The final cut (pun) is the organ-led 'All I Need', here evoking classic Spooky Tooth sensibilities, laced with some Pink Floyd eccentricities with loads of effects, menace and foreboding, all within a groove oriented sarcophagus, spunky drumming and that nasty, churlish Hammond blasting away. The electric guitar solo is not too shabby either, manic, insistent, desperate and lethal. A brief Ultravox section a la 'Vienna' gives the piece added amplitude and scenic drive. Bubbly bass renders the fat and kicks you when you're down on the ground, smiling helplessly.

My goodness, prog kids everywhere, do yourself a favour and hunt this urgent, aggressive and bold experience down! I know I intend to play this one a lot. And to think that some accuse me of liking softer prog! This ain't soft, baby!

5 Government impulses

Yes, these guys mix high-tuned guitar work with infectious melodies, spacey keys, and very interesting song structures. In fact, I'd say that their songwriting skills show a much more mature band than you would expect. Their sound leans heavily upon atmospheric instrumental sections that feature some inventive guitar work that could be called noodling, but it never gets annoying or pretentious. It always seems to have a point and a destination. A spacey, electronic ambiance immerses much of their music, such as on the opening instrumental track "Third Wave of Decadence". Other times, a strong classic rock vibe is present, such as on tracks "Preface" and "All I Need". Addictive grooves, excellent classic-style drums and bass, and wonderful piano passages also complement the already scrumptious tone of the music. One of the best parts of this album is the presence of great keys. Organs, synth, and piano are all used expertly. I especially enjoyed the "wild" organ passages on "Preface", the thoughtful and spacey synth on my favorite track "Long for You", and the excellent piano on "Time Rush".

The vocalist has quite a unique voice. I can't really make any comparisons in general, but he really sounds like Mick Jagger at points, especially on the final track. This really adds to the classic rock feel of the album. It is by no means a weakness, either.

If I were to point out one similarity State Urge has with their Polish prog brothers, it would be the darkness of the lyrical content. The lyrics are emotional, desperate, and introspective. A longing for lost love, a feeling of loneliness, and new resolve for the future can all be found in the pages of this journal. And, if there's anything I love, it's dark and personal lyrics mixed with great music. State Urge has started their career at a high point, and I have a feeling that it will only get better from here.

Following on from two self-released EP's, and gaining a following in Poland with lots of radio airplay as well as performing with acts such as Votum, the band signed a deal with Lynx Music to record their debut album. They took the opportunity to record a mixture of both brand new songs and some that had been played for a while, but definietly wanted to be seen as being something different, hence the use of the words 'White Rock'. Of course, when I first saw the name of the band I thought that they were referencing Rick Wakeman's 1977 classic, which was the soundtrack to the Innsbruck winter Olympics, but while that is not the case they do make me think of fresh snow, as there is a crispness, clarity and clean feel to the sound and production that is rare for a debut. I then looked to see who had been involved on that side and found that Ryszard Kramarski from Millenium engineered some of the songs.

At times they use sounds that are more often featured in dance, with electronic drums and beats, but one of the real joys is the way that they don't feel restricted or pigeonholed and they do exactly what they feel is right overall. Consequently, although they can be labelled with the progressive label they are quite different to most of the other bands in the scene, and this is an album that feels like a breath of fresh air as it blows through, and consequently is one that I have been playing a great deal. Well worth investigation. www.lynxmusic.pl