AMAROK

Amarok is releasing their 6th album. Michal Wojtas debuted in 1999, he played the piano fan of JM Jarre, then took to the guitar loving Mike Oldfield and Pink Floyd. An innovative fusion of styles starting from ambient, folk prog, eclectic post rock, hypnotic space rock, all embellished with an aerial Knopfler guitar at times and unusual instruments such as the violin, the theremin , the wind gong, the djembe, the harmonium, the flute and the rain sticks. Gazpacho and Riverside are often thought of while listening to them. History, potential human survival as a covid backdrop when you hold us!

"It's Not the End" begins electro à la Duda, well they know each other it's no coincidence, floydian hints, fresh air that makes you leap, jump for joy; it's sweet, graceful almost pop post; female voice over starting on a tortured, rhythmic, modern instrumental where the guitar solo can recall the sonic drifts of Rutten of the Gathering. 'Surreal'brit electro pop at the start, supercharged rock-pop synth, a post-Sigur Ros guitar that thrills you; Michal sinks his voice into the captivating, haunting tune between a Lunatic Soul, a Suburban Savages and a Leprous. '' Hail! Hail! Al '' sinks ... the sound with a trip-hop scale evident here, rhythmic, monolithic trance struck by a depressive violin for a while, more gypsy folk later; a bit of Howie B for that ethereal feel and of The Orb for their work with Gilmour; precisely "The Orb" arrives and denotes, synthetic rhyme, romantic ballad with overflowing spleen; moment of musical contemplation with a voice associated with the piano all flowing as if from a spring; a theremin has to hide somewhere and vibrate the air leading to introspection. "The Dark Parade" continues its momentum and manages to combine tribal, reverberating rhythms a la Brendan Perry, a sound of Mariusz Duda and decadent new wave tones of Killing Joke or The Cure; a magnificent musical malmström with a final crescendo for an intoxicating dark atmosphere. '' Hero' for the most intimate piece, quiet rhythm, syncopated by the drums, slide guitar filled with emotion; modern sounding title that flows naturally, atmospheric; a last solo with torn notes that sends up there; beauty is at this price. Spatial, austere "What You Sow", the 2001 monolith has landed and exudes this air from behind Jupiter, ideal for putting on your diving suit and taking a deep breath of what little air remains in space; restful, as raw as an aria by Ray Linch, staged as the Anathema did so well, a sublime intimate piece. Note a title on vinyl Subconsciousness.

Amarok wants to bring us to a form of inner peace, to a moment of musical serenity; the sounds are based on the synths which allow to get out of anxious climates and on the guitar which gives access to musical peace. A sumptuous sound apart, embellished with dark and divine climates, far from any current sound movement; progressive rock is not the end of its revolution, it is perfected with this group where the exotic musical fusion sends very far. The year is not over but has just fulfilled one of my top potentials.

Michal Wojtas is a musician of genius for having released "the storm" at that time. He 'didn't hesitate to give in the ambient, post rock, rock hovering and to give each of his compositions a very special aura. The aim of this album is undoubtedly to bring you to a form of inner peace, to a moment of musical serenity; the sounds are more based on the synths that allow to get out of anxious climates and to be able to bring to a musical peace. The aim of this album is undoubtedly to bring you to a form of inner peace, to a moment of musical serenity; the sounds are more based on the synths that allow to get out of anxious climates and to be able to bring to a musical peace. After the "facing the truth" of more than 18 minutes, you will however be entitled to the last two songs sung , which breaks a little the atmosphere posed by the rest of the album. A record apart, which does not pretend to become a record with tubes to support, but that will allow you to keep a serenity in these uncertain times, it is for me already, much.

A nice album from this one man led Polish band which seems to aspire to emulate countrymen RIVERSIDE/Mariusz DUDA. They do so, though much more on the mellower and electronic-assisted side. The gifted, creative force behind this album, Michał Wojtas, might have a viable place in the pop world á la JAMES BLAKE.

1. "Anonymous" (6:41) Nice atmospheric music though I'm not sure I like the synthesized drums and thin sound of the lead electric guitar. All instrumental opener which actually does a very nice job of introducing the feel and sound of the rest of the album. (8.5/10)

2. "Idyll" (5:41) featuring the mellifluous voice of prog legend Mariusz Duda, the song is almost purely a vehicle for just that--which is almost enough (superlative vocal, Mariusz!). (8.5/10)

3. "Distorted Soul" (5:32) sounds like a carryover from the previous song with some computer percussion tracks and very Mariusz Duda-like vocals from Michał Wojtas. I like the odd, aliens-from-outer-space synth in the fourth minute that leads into the song's awesome crescendo. Well done! (9.5/10)

4. "Two Sides" (5:09) opens with duduk playing over layers of atmospheric synths & treated piano. Very cinematic, very much like Peter GABRIEL's soundtrack music for The Last Temptation of Christ. Awesome! (10/10)

5. "Winding Stairs" (4:34) a more-pop-oriented song in the vein of JAMES BLAKE and SAM SMITH. Interesting (and surprising) key changes/chord progressions in the guitar solo section. (8.5/10)

6. "In Closeness" (5:52) opens with soloing distorted electric guitar before Middle Eastern-like computer and manual percussion tracks join in. The soft, almost-whispered vocal alternates with the ejaculations from the distorted guitar and some simple electronic keyboard work. This song makes me feel more inclined to urge this artist (Michał Wojtas) to pursue more of a pop music approach. He really has a gift/talent for electronic percussion combining and programming. There's a little TEARS FOR FEARS, NEW ORDER, or THE THE feel in Michał's song-construction, soundscape and singing styles. I very much like it. (9/10)

7. "Unreal" (4:40) more interesting "Blade Runner"-like solo electric guitar play to open this bluesy instrumental. At the one minute mark the guitar becomes more similar to a JEFF BECK/NIKITAS KISSONAS/COLIN TENCH sound and approach. Nice work. Very mature guitar play. (9/10)

8. "Nuke" (5:48) featuring the vocals of CAMEL's Colin Bass, this one just doesn't work for me. The Hawai'ian-like lead guitar work falls short. (7.5/10)

9. "Hunt" (17:52) a musical vehicle for the contemporary journalistic report of the way our ever invasive social media affects things like human privacy, safety, and even species evolution right now, it has a feel, at first, like one of the stories similar to the HIBERNAL story soundtracks that have made their way into progworld in recent years. At the four minute mark the song morphs fully into a Berlin School electronic sequenced song like KLAUS SCHULZE and SEQUENTIA LEGENDA. It's really well done! Definitely showing this artist's dexterity and eclecticism. Not just a great song--but a really well thought out one. If it's true that keyboardist/programmer Marta Wojtas deserves credit for this one, then kudos to her! The sequencing is truly engaging and well constructed! The slide guitar work is good. Great vocal performance in the second half. (9.5/10)

4.5 stars; an excellent album of atmospheric progressive rock music--a near-masterpiece.

This is a very fine album, oozing with melody and beautiful musicianship. The vocals are perfect from Michał Wojtas, but the overall sound of this project is clearly defined with consistency throughout. An album that transcends excellency in all departments. There's room for guests Mariusz Duda (Riverside and Lunatic Soul) and Colin Bass (Camel) who clearly enjoys guesting in various Polish bands. Naturally there is a feel of Lunatic Soul and Camel in parts; but lovers of Moonrise will adore this too. Sublime keys and guitar. Take a break for an hour and immerse yourself. Another gem from Poland; a minimum 4 stars well deserved.

This album was kindly sent to me by Artur in Poland, and I have been able to find out virtually nothing about it on the web. I think that this is their second album on Ars Mundi, but I don't think that either band or label have a web site (which is unusual, to say the least). What I can say is that for the most part this is an instrumental album featuring the talents of just one man, Michael Wojtas, who seems to be as happy on guitar as he is on keyboards. Listening to some of the finger picking on "On The Road" it is hard to imagine that this is a prog album at all as it just bounds along without a care in the world.

But, this is an album that has taken influences by bands like Camel and brought them in with other styles to create a prog sound that at times is quite Eastern in its' approach but is always restful and relaxing. The Camel influence is taken further by guest Colin Bass who sings on the three songs that contain vocals. His warm tones add a further depth to the music. It is an album that is very pleasant and just right for the end of the day.

Originally appeared in Feedback #73, Jun 03

I'm pretty surprised at how little attention has been given here to this very good work. As I always say or write, depending on what you want to hear, it is a very good choice for the genre.

Amarok plays mostly instrumental music in this album. And, as its name suggests, with some subtle hints or not so, the style of the great Mike Oldfield. There are also some shades of Pink Floyd. I do not think that this approach is detrimental to the product, on the contrary.

The acoustic and electric guitar is the main instrument here, with a transparent sound and neatly executed. A good dose of violin and flute add color and depth to the music.

Fildmour part I and part III are extraordinary. Aqu, Meriba, Seya and Massa are other highlights, to name a few more. The album is balanced.

The cover photograph is appropriate, and outlines a good idea of ​​what is presented in the music.

Later, Wojtas was looking for something different other sound. Neo Way is less original and Metanoia too experimental, at least for me.

I came by chance to listen to the first installment of Amarok, and welcome. I´m pleased.

Well, nice surprise from Polland! Apart from some female wordless chanting on a couple of tracks, this a totally instrumental album, with lots of great guitar. Amarok is the personal project by Michał Wojtas, a very talented musician/songwriter that really knows how to produce great songs instead of the usual technique exercises that plague so many solo albums. I believe that the reader already figures out by his project name that Wojtas is quite influenced by Mike Oldfield. That is true. Fortunatly he is far from being a copycat. In fact, there are so many references to other guitarrists on this debut CD that Oldfield´s style is, in the end, just one of them. And not the most obvious.

The album is quite varied and although Wojtas is able to tackle several different kinds of music, this becomes an issue overall. The CD lacks a cohesive feel. Each track seems to be played by an individual artist, making it hard to see what is his sound after all. Even if no track here is bad, Amarok falis to show what he came for. Which is a pity because tehre are some real nice things on this record. Fieldmour I is certainly one of them. A powerful and poignant number where the use of both acoustic and electric guitar, violin, hammond organ and a powerful rhythm section is stretched to its maximum power. The result is one of those classic tracks that blends Pink Floyd, Mike Oldfield and Camel to make a classic 9 minute epic that you never get tired of hearing it. I just can´t get enough of that song!

The remaining tracks are not as brilliant, although its continuation Fieldmour II gets close to that. From then on we have several different guitar-led tracks that are mostly very good, but nothing that comes near the magic of its electrifying beginning. With nods to David Gilmour to Mark Knopfler, Wojtas shows great skills and fine songwriting. The production is very good and all the musicians involved do their parts well. Very little ego trips here.

Rating: hard to do it. It is certainly more than just good, but not really essential overall. I think a 3.5 stars rating is adequate. If you like melodic instrumental prog music, this is recommended. I´m looking forward to hear Amarok´s follow ups.

If you like David Gilmour, this is a MUST.

One of my prog wonders (by the way, I have 20 or so) is why AMAROK from Poland is rarely mentioned by prog fans although there are millions of David Gilmour fans in the world and the band is of the same type of music. Well, maybe that's because of the band name which is a bit confusing with Amarok from Spain.

This album is almost seamless like Mike Oldfield's as they refer to, but do not misunderstand that their music is by far more emotional and melodic. Listen to track #2 "Fieldmour II", and you will be amazed how melodic the guitar is. And you will be also surprised at the fact that basically all the instruments are played by one person except drums. He is genious !

Today, you have to set sail to Polish prog world if you want to find real prog music successors.

This album is obviously Classic, so 5 points with confidence.

There is no doubt that this (band) artist heard M. Oldfield quite a lot (hence the name of course).

This third album from Michał and some friends offers little variations from the previous work. The music is nonchalant and little enthusiastic. But not disturbing.

This multi-instrumentalist is probably gifted, but his song writing capabilities are not really from beyond if you see what I mean. Moments of glory are close to none here. I guess that you would like to listen to some better music, right?

On top of this, most of the music is repetitive (''Rules'') and dull. Some sort of eighties electronic stuff. I have to say that I'm not submerged with passion while listening to such work.

Even if one of the guest (Mariusz Duda) and one of his fellow countryman brings some added value, it doesn't change the global picture. Little surprising stuff available here to be honest. At times harder (''Look Around''), but this only sounds normal to me. Mariusz had to leave his mark in here, I guess.

While Mariusz is not whispering, we get some sorts of instrumentals, Middle-East oriented like ''Tirzah'' which can't really thrill my old ears. Weak, IMHHO. This album holds too many sampling sequences to my taste (but I confess that I have never been a devoted fan of this technique). To experience and survive a track like ''In Struggle'' is a quite meritorious. But I could say the same about most of the tracks featured on this album.

As you might have understood, this album is not really my cup of tea. Heavy at times, with no or so little flavour really. Maybe some electronic freak could appreciate this more than I do. Maybe.No surprise that ''Wind from the East'' holds a strong Oriental beat and texture. But it sounds so flat.

The only song that is moving me is ''The Day After''. A great melancholic ballad during which the whispering tone from Mariusz is excelling. One out of eleven songs.

As such, I can't rate this album higher than two (little) stars.

This second album from ''Amarok'' is definitively not a great one.

The opening track ''Dajenu'' is setting the pace: what we'll get here is true world music, no more. And actually, it might even be one of the best track available since some poor music has to be endured as well (''Up Hill''). A sub, sub-par ''Dire Straits'' tune with country & Western orientation. Press next of course.

To tell you that one of the best moment here is the short (just short of ninety seconds) ''Two Faces'' says enough about this album.

I am not willing to be destructive but I have to be honest here (as usual in my reviews actually). There are hardly one great or interesting track included on this album. No pop, very little prog, scarce good music to browse you the global picture.

As far as I am concerned, this album has so little to do with the prog scene and I am really surprised to have it featured here. The instrumental ''On The Road'' sounds like a ''Shadow'' tune. But recorded some forty years later.

I wouldn't qualify this album essential for your prog ears. On the contrary: two stars seems a logical end to my ears. Here and there some classic feel are nice, indeed. But ''Fifth Mount'' can't compete with ''Firth of.''. Even if it is my fave little piece here. Some kind of healthy breath in this ocean of average music.

The nadir of this album being of course the poor ''Hope''. A strange title indeed. Believe me: there is not a sight of hope while listening to this sort of music.

So now, you should be ready for the epic of this work. Almost half an hour of music with little coordination. Spacey and interesting music for a while ''Neo Way I'', which is followed by a dreadful funk/house style second part that is really difficult to absorb.

During some very short moment, one might compare this epic track with some Oldfield work like the fourth movement, but to tell you my truth, it is really shy of the work of this giant musician. But this is only how I feel.Still: it is by far one of the best parts of this album.

In all, this ''Neo Way'' is a poor Oldfield attempt to write an epic. And it didn't succeed as far as I'm concerned.

Two stars.