HOPE TO SEE ANOTHER DAY

This is really a different record. Being a fan of both Collage and Mirek Gil's solo CD Alone, I thought it was worth checking out this band Believe*. Well, after many listenings I should warn everyone who haven't heard it yet that "Hope To See Another Day", aside from some guitar solos, has nothing to do with Collage or Mr. Gil's solo album. In fact, it has very little to do even with neo progressive as far as I see it.

Upon first hearings I should say I did not like it at all. It sounded like a mixture of prog metal, grunge vocals plus some violin solos here and there. But, interesting enough, the more I heard the CD the more I found myself enjoying it. The vocals are the hardest part to sink in, sometimes sounding too american and modern for my taste (as well as the basic guitar riffs). but once you get over with that you find the music to be quite challenging and melodic. The guitar and violin solos are great, the keyboards, subtle, the rhythm section, heavy and precise, the vocalist has a decent voice. Believe* borders the metal, neo prog and other rock styles, even grunge (Alice In Chains, because of the vocals) but actually they come out on their own, I can't really recall any band to compare. Very interesting!

A good record, but not for everyone's taste. I recommend it, if you like to hear something new and stylish defying.

Believe to see another day ...

BELIEVE is a new project with two guys who are wellknown - Mirek Gil as a member of COLLAGE and Przemek Zawadzki playing bass with SATELLITE. So there is a lot of experience from two polish bands put together and yes - you can hear some but not too many reminiscences. The result is good and sounds fresh. The majority of the songs is convincing me with remarkable guitar riffs, good melodies and vocal harmonies. The guitars sometimes are similar to Gary Chandler. Piano and violin is used sparingly - not overcharged.

'What is love' starts very promising and then begins to grooooove in the middle - excellent! (rating 4.5). 'Needles in my brain' - a ballad - follows with fine vocals and violin playing (rating 4.0). 'Liar' has a very good begin but unfortunately loses the way a little bit and gets weaker (rating 3.0). 'Pain' is a very sensitive slowtempo peace with fine drumming and piano work (rating 4.0). 'Seven days' - very melodic and contains a beautiful piano outro (rating 4.0). 'Coming down' is a little bit heavier song bordering to prog metal (rating 3.5). 'Don't tell me' for me is not so important (rating 2.5) and then the release finishs and convinces again with the title song and long track (rating 4.0).

'Hope to see another day' is not spectacular - it is a brave neoprog production and near to an excellent addition. I think this is a must have for SATELLITE and COLLAGE fans (total rating 3.7 stars).

A tip of the hat to Mr Gil for taking a chance and producing an album that is as much grunge as neo prog. The results aren't always stellar, but he can't be faulted for giving it a whirl.

While the album contains some similarities to Collage and a few more to Satellite, I suspect that in part this is due to the guitars and the myriad strong solos, but even there you don't get the Steve Hackett style so much, but more like the Sarhan style of Satellite, only with a much harder rock backing. And if kinship with the Collage/Satellite axis is tenuous, this sounds totally unlike the rather light but very enjoyable solo album "Alone" by Mr Gil from 1997, even if that album contained a track called "Believe". Confused yet?

Taken on its own, "Hope to See Another Day" offers many grungy pleasures - the vocals and all the playing are more than competent, and every listen exposes new variants, so give this several spins once you get over the inevitable shock. The album starts strongly with "What is Love", which in its 7 minutes showcases all the strengths of the band as well as the tendency to rely on a basic beat a little too long, but they also break into a more middle eastern sounding motif in the second half. This is meat and potatoes music with a dose of arugula, if you know what I mean.

My favourite is probably the near ballad "Pain". What a gorgeous melody brought out by Gil's mournful solo in the middle! "Seven Days" is another great tune with a quiet start where Gil's lead forms a backdrop for a dramatic narrative before the heavy rhythm guitar comes in and the song cooks. What a chorus. "Don't Tell me" is also highly recommended, especially for the violin lead in the finale. While the lengthy title cut has its moments, it ends up dragging a fair bit, and a couple of the other cuts are just too clunky. The album lapses into some degree of sameness, but that the aforementioned tracks manage to stand out is a tribute to the master's hand.

So, this is a mixed bag, but I recommend it because when it is good it is very good to great, and that is preferable to an album where everything is OK.

As the title of this album suggests the lyrics are rather dark, negative and depressing at times.The music itself is guitar driven from our COLLAGE and SATELLITE friend Marek Gil. This record was such a pleasant surprise to me, I wasn't expecting such a melodic, guitar heavy album and it sounds so good turned up really loud.

"What Is Love" may well be the best track on the record. It's a powerful song with some great guitar work from Marek throughout, including riffs and solos. The vocals aren't that strong but I really like them. There is some piano and violin as well in this one, and there is a real groove happening in the last 3 minutes of the song. "Needles In My Brain" opens with reserved vocals, strummed guitar and violin. The song kicks in with some tasteful guitar and a powerful rhythm section. I love the guitar in this one, it's hard not to smile. "Liar" begins with heavy drums, guitar and passionate vocals. The song does brighten with a catchy guitar melody. Nice.

"Pain" is a mid paced tune with dark lyrics, but with an uplifting melody. The vocals shine and there is some soaring guitar 3 minutes in. "Seven Days" is another good song with some heaviness and crunch. "Coming Down" is my least favourite song on this record. Drums dominate for the first 2 1/2 minutes when finally the guitar enters the fray. "Don't Tell Me" has a nice powerful soundscape after 2 minutes that comes and goes. There is violin towards the end of this good song. "Hope To See Another Day" the title track is ok for the first 3 minutes and then Marek steps it up a notch and we are treated to a powerful guitar driven melody. This sounds so good. It changes to a lighter sound for a minute with piano and vocals before returning even harder ! This contrast continues. I love the guitar melodies to end it.

I can't give this record anything less than 4 stars, and the more I play it the better it sounds.

BELIEVE is a new project led by Polish guitarist Mirek Gil. Known as a former COLLAGE guitarist, Gil released his first solo album under the name MR.GIL in 1998 (couple of good tracks but nothing more). This time it seems he has a band – with first COLLAGE singer Tomek on vocals and guitar! Besides arrangements feature wonderful violin solos, whose sound is a good support to excellent Gil’s work. His guitar solos are top-notch just like in his early COLLAGE days, and he never looses his signature sense of melody. BELIEVE’s music is not far from COLLAGE’s genius “Moonshine”, but heavier (think of RIVERSIDE) and less complex (I dare not say 'less inspired'). There’s a lack of Woitek Szadkowski’s hand as a composer and drummer; most songs from the second half of the album (except for the title epic) are rather dull and filler-like in nature. Still, numbers like “What is Love” and “Pain” make this record a desirable addition to any collection. If you’re into melodic Polish Prog, get this one immediately!

As I eagerly await their imminent new release, I am tempted to review the debut album and ask me to believe, even though I am such a cynic! Well Poland's Believe actually makes me believe that there is "a future in the fire escape trade", all because I have learned to " know what I like"! Led by the legendary Polish guitarist Mirek Gil, formerly of Collage and helping launch Satellite (sic), this is a fine debut album that introduces a different, more contemporary sound to us old-fashioned "disbelieving" proggers. Okay, enough puns already! The smirky guitarist alters his style by highlighting his rhythm work which is much chunkier than in the old days but also lets a few occasional Gil-like fluid cascades when needed. The vocalist is Tomek Rózycki (ex-Collage) and he has a voice that reminds one of Lands End's Jeff McFarland, slithering into slight histrionics that actually suits the music and the somewhat aggressive lyrics, perfectly loaded with bile, sadness, despondence and incredulity. Occasional violin is provided by Satomi (a Japanese female artist), as well as discreet background keyboards and "hidden harmonies" by Adam Milosz and ex-Collage mate Przemek Zawadski on booming bass but the true revelation here is the snappy drumming of Vlodi Tafel (also played on the Mr. Gil solo album) who takes the usual simplistic neo-prog drumming into a more assured style that owes more to Satellite/Collage master percussionist Wojtek Szadkowski or even the harder metal bashers we all know and love. The 7 minute + "What is Love" sets the tone with a swarthy blast of raging guitar slashes and the afore mentioned chugging rhythms, fueled expertly by the bass and drum tandem and infused with a delicately romantic violin solo and some really playful vocals, with just enough angst to make it all credible. The middle section explores gentler themes, almost funky at times, again very pleasing (the "I want you back!" chorus), grooving along with assurance until Mirek lets his soaring axe fly with simple abandon. Hey, this is good and it will only get better! "Needles in my Brain" is a little more gruesome, dealing with the ravages of drug abuse and the pain of addiction ("I need to fly away from me") and the band expresses the anger and the frustration with harsh reality (not your usual flaccid neo-prog, this). But the next one really sets off the explosions, the truculent "Liar", pushed my massive drumming from Vlodi, thrashing mercilessly as Tomek passionately growls with seething sarcasm: LIAR! Yeah, baby, this is primo stuff! Great dual guitar leads push this one along nicely until Mr. Gil breaks out the first two of his patented fret explorations, swirling like a whirling dervish and then later crunching agonizingly. An absolute amazing track that remains accessible with lots of twists and turns and spirited playing (the third Gil solo just smokes!)."Pain" continues without skipping a heartbeat even though the theme here is way more soporific, almost Floydian in stature but with a huge melody that sticks to your brain like a medusa, the ardent lyrics spinning a fine tale. Again, the drum work is exemplary as well as the very appropriate vocals, just setting the stage for another throbbing Mirek six- string wail, all restraint and agony , by God this man is talented! Masterful composition this is. "Seven Days" provides a sonic platform for another gigantic melody, full of spoken words and clashing themes, "only moments last forever" repeated over with such fire, inducing "tears running down your sweetest face" , "All the Time" echoing with sheer ardor , sliced by a rippling Gil assault , churning, twisting and drilling the melody into the brain , like needles (sic). "Coming Down" suggests odd beats and odder voices leading to an almost vintage Roxy Music groove, with Tafel's drums marshalling the path, colored by walls of keyboard effects, suddenly shoved into overdrive by a hysteric guitar bellow and progressively heavier, veering near metallic confines ("Crying out Loud"). The drums again enthuse, especially when the keys get symphonic and the beat reverses into a deep groove. The dynamics are stunning! "Don't Tell Me" returns to more accessible climes, the piano chiming in delicately and the main chorus is another plaintive lament, powered by the ever-glowing guitar. The violin makes another mournful appearance, a good track but not as good as the rest. "Hope to See Another Day" is the 12 minute epic that closes out this album with a musical adventure that encompasses all the elements that make this group one to watch, even though stylistically different from their Collage roots. This is a fast pace, rollicking power prog composition that has fascinating drumming (here again quite in evidence), unrelenting ardent singing, adjustments in mood generally fueled by the six-string fiend, swerving into tighter rhythms and becoming highway driving material boosted loud, hair flowing in the wind. A little piano interlude enters totally unexpected, slapping at the cheeks, twinkling in the moonlight (sounding close to Satellite, here), just in time for Mirek to swoosh this into menacing overdrive with a Gargantuan curtain drawing solo. Ok, I Believe. Can't wait for the next one and I guess my PA friend sinkadotentree will agree . 4.5 white flags of surrender

I tend to like several albums which involved Mirek's participation, but I should have trusted my fellow reviewers about this one (at least in their comments, because this album is quite highly rated).

If some of the tracks are saved by Mirek's brio on the guitar like for instance during the mellow ballad Needles In My Brain or Liar; he couldn't save the whole of this album which is a collection of predictable music. If would take out these breaks, these songs would just be below average. It is particularly true for Liar which is a heavy metal boring track for six minutes (out of seven.).

Most tracks offer an almost similar structure (except for What Is Love which features fine violin) but most of them (thanks!) hold some beautiful guitar solo.

As Prog-Jester mentioned in his review, most songs from the second part of this album are dull (from Seven Days through Don't Tell Me). I would even include the long title track which is heavy and not so inspired (hopefully, there's the guitar again...).

This means to me that this album is worth two stars, no more.

A timely re-release of a fine album

With the imminent release of Believe's fifth album "The warmest sun in winter" (due in April 2013), this would seem an opportune time to investigate the roots of this fine Polish band. It is fortuitous then that their début album "Hope to see another day" has just been remastered and re-released, complete with a couple of bonus tracks.

Founded by Mirek Gil (Collage, Satellite, Mr Gil), Believe's foundations in symphonic and neo-prog are augmented by the unique sounds of Satomi 's violin contributions. Looking back on the album, Gil notes that it was recorded after he had taken a lengthy break from music, returning with an "extreme hunger" for playing the guitar. Consequently, the album is structured around his legendary talents with many fine solos and some deliciously heavy riffs. The songwriting is dominated by Mirek Gil, with Robert Sieradzki providing the lyrics throughout (all in English). The only other writing credit goes to lead singer Tomek Rozycki for his contribution to ""Don't tell me".

Tracks such as the back to back "Needles in my brain" and "Liar" offer fine examples of Gil's highly melodic lead guitar style, the latter building to a magnificent crescendo. "Pain" highlights a different side of the band, with acoustic guitar and lush keyboards combining in a relatively sparser but highly atmospheric slower number. The closing (title) track is also the longest at around 12 minutes, the song remaining in the band's live set to this day.

The two bonus tracks on the 2013 remaster are live versions of "Liar " and "Pain" recorded in Konin, Poland in 2006, not long after the album's release. Even so, both have noticeably different arrangements, primarily in respect of the lead guitar and the violin.

At the time of its release in 2006, some who had followed Gil's career felt that this album was a bit too different for their tastes. Subsequent albums have proved beyond doubt that Believe was a natural progression for the man, and that the prog tenets to which he subscribes remain firmly in place. Looking at this album in retrospect, there is much to recommend it, both in a prog context and simply in terms of what an excellent album it is.

Polish band BELIEVE was formed in 2005 by veteran Polish guitarist Mirek Gil as his new band project. He assembled a band around him fairly quickly, and in 2006 the debut album "Hope to See Another Day" was released through Polish label Oscar (and later by Swiss label Galileo Records). Seven years have passed since then, and a fair number of releases. While awaiting the forthcoming album by Believe, their current label Metal Mind Productions found the time right to reissue their debut album, now in a remastered version that also contains two bonus tracks.

Believe's 2006 debut album has been given a nice lift by their label Metal Mind if the difference between my impressions of this remastered version and the general opinion of the original one can be used as an indication. I don't get the impression that it is a required purchase if you already own the original release, but for fans and those who don't already own this disc this version probably merits an addition to a list of forthcoming purchases.

After his important career with Collage and his brief tenure with Satellite and as his personal career was somehow put on ice, Mirek Gil and his anxious spirit decided to move on with a new project in mid-00's.He gave life to Believe, a new band that includes a few surprising members.Japanese violin player Satomi, the first singer of Collage Tomasz Rozycki on guitars and vocals and Satellite's original bassist Przemyslaw Zawadzki.The rest of the band were singer Robert Sieradzki, drummer Wlodzimierz Tafel and keyboardist Adam Milosz.Recorded at Gil's own studio, the debut of Believe ''Hope to see another day'' saw the light in 2006 on Galileo Records for Europe, MALS for the Russian market and Oskar Records for the Polish one.

It is widely known that Gil constantly developed his music in every project or band he participated and Believe are no exception.With his new band he tries to mix the refined Polish Prog sound with the heavier excursions of PORCUPINE TREE, while the album contains also strong PINK FLOYD-ian hints and the presence of Satomi and her violin makes the sound of the group quite unique.However there are plenty of references to his past with COLLAGE, as parts of the album are characterized by nice and moving guitar solos, light symphonic keyboards and very dreamy yet expressive vocals.This time though the fundamental roots of Gil are blended with powerful and angular guitar riffs as well as mascular grooves, while a couple of tracks are trully sensitive with a light psychedelic edge, based on Rozycki's always warm voice.Satomi is not always present, but when she does the sound obtains a different approach, led by her crying violins, quite close to OUTER LIMITS' vibes, with a slight Classical influence.The overall result is an elaborate mix of dynamic Heavy Rock with elaborate Neo/Symphonic Progressive Rock in the classic tradition of Polish Prog bands, both adventurous and deeply emotional.

There are moments in this album, where Believe seem to try to find some solid and confident steps in this new approach.Most of the album though is great with a rich and passionate sound, very modern and fairly demanding.Recommended.

Poland may not have the largest progressive rock scene in Europe, but especially within the last decade or so, I've noticed a large amount of phenomenal prog acts popping up throughout the country. Believe is one such act, and now that the band has plenty of well-received observations under their belt, it's a great time to revisit their 2006 debut, Hope To See Another Day. Most notably featuring guitarist Merek Gil of Collage and Satellite fame, this debut introduces Believe as a class act with a unique approach to the neo-prog genre.

Hope To See Another Day comfortably resides in the neo-progressive rock style, but Believe's music is on the more melancholic, guitar-driven, and heavy side of the equation. Whilst I wouldn't venture to call this a metal release, some of the riffs here are quite heavy, and Believe often opts for multiple guitar parts complemented by subtle keyboard work from Adam Milosz, rather than a synth-dominated sound that you might expect from the genre. This stylistic choice works well for Believe's dark and melancholic music, and the moody atmospherics heard throughout the album make for an engaging listen from start to finish. Hope To See Another Day may not immediately "click" with all listeners, but its depth makes for something that is highly rewarding in the long run.

Believe left some room for improvement on their debut - the production, for example, is a bit unpolished and the album as a whole could use more variation - but this is still a mightily impressive debut from these Polish proggers. With its recent reissue on Metal Mind Productions, now is a great time to discover Hope To See Another Day if you haven't experienced it yet. This is one of the most impressive progressive rock debuts you're likely to hear from Poland!