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BELIEVE

Neo-Prog • Poland


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Believe biography
Founded in Warsaw, Poland in 2004

BELIEVE is the project of former COLLAGE guitarist Mirek Gil, who together with Tomek Rozcki (vocals, guitars), Adam Milosz (keyboards, hidden harmonies), Przemas Zawadzki (bass), Vlodi Tafel (drums), Satomi (violin), and Robert Sieradzki (lyrics, vocals) create a rather unique form of Neo Progressive Rock. Mixing the often melancholic Neo-Prog shown on COLLAGE's "Moonshine" with a bit more of a harder, metal edge, BELIEVE form an intriguing style of experimental and unconventional progressive rock.

2006 saw the release of "Hope to See Another Day," BELIEVE's debut album which introduces us to their unique style of Neo-Prog. For fans of COLLAGE, SATELLITE, the growing Polish progressive rock scene, or for those who may have not yet discovered Neo-Prog, I recommend BELIEVE.

Why this artist must be listed in www.progarchives.com : Aside from Mirek Gil's direct and important connection to Neo-Prog and the progressive music scene in Poland, BELIEVE do indeed play an interesting form of progressive rock.

See also: Official Website (old)

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BELIEVE discography


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BELIEVE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.42 | 92 ratings
Hope To See Another Day
2006
3.99 | 178 ratings
Yesterday Is A Friend
2008
3.14 | 79 ratings
This Bread Is Mine
2009
3.47 | 97 ratings
World Is Round
2011
3.68 | 133 ratings
The Warmest Sun In Winter
2013
4.07 | 178 ratings
Seven Widows
2017
4.39 | 45 ratings
The Wyrding Way
2024

BELIEVE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.19 | 16 ratings
Live At The 1st Oskar Art Rock Festival 2006
2009

BELIEVE Videos (DVD, Blu-ray, VHS etc)

3.85 | 19 ratings
Hope to see another day, Live
2008
4.29 | 12 ratings
Seeing Is Believing
2012

BELIEVE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

BELIEVE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

BELIEVE Reviews


Showing last 10 reviews only
 The Warmest Sun In Winter by BELIEVE album cover Studio Album, 2013
3.68 | 133 ratings

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The Warmest Sun In Winter
Believe Neo-Prog

Review by Lights Faces

3 stars Those who have followed BelIeve throughout their journey and got used to their dark mood might get surprised at this album. The rock is simple and epurated, with emphasis on melodies and calm moods. It's a cute album, one you listen in winter while feeling moony. The rock, the guitar doesn't really surprise you, there is little violin, there is nothing extravagant, super original, but it does contrast with the rest of their music; it's a step on their journey. I would say it's a very decent conclusion for Believe's first period. After that, they'll have 4 years to really think through and decide what kind of music they want to make, and they'll produce the incredible Seven Widows. The Warmest Sun in Winter is not an essential, but it's a pleasant album nonetheless. (it's also supposed to be a concept album but that didn't really strike me, it's a bit too subtle; there is indeed some thematic consistency, but not that much more)
 Hope To See Another Day by BELIEVE album cover Studio Album, 2006
3.42 | 92 ratings

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Hope To See Another Day
Believe Neo-Prog

Review by Lights Faces

4 stars Rarely does a band manage to be that successful at their first album! Hope to see another day is a sort of pilote, but in the best sense. Here, they've planted a lot of seeds, that would blossom across their discography, testing a lot of different things that all work, while developping a special style of their own, defined by a rock both modern and, in some regard, "old school", pure, with Satomi's violin (which we only regret it be not used enough), a capacity to produce almost naked melodic pieces, as well as a somber atmosphere. In the image of the band and their music, the artwork itself is simple but dark and characteristic. "Needles in my brain" and "Pain" are to me the best tracks in the album, but there is a lot of great stuff as well in "Liar" and "Seven Days". "Coming down" and "Hope to see another day" are also interesting pieces with good ideas, although they're somewhat longish - it would take Believe a number of years before finally fully mastering the art of great long songs, with their album Seven Widows.
 The Wyrding Way by BELIEVE album cover Studio Album, 2024
4.39 | 45 ratings

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The Wyrding Way
Believe Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars I have to start off by saying that I am an absolute sucker for the searing lead guitar playing of Mirek Gil--and have been since I first heard his play on COLLAGE's Moonshine. Though it is my opinion that Mirek has never achieved the gut- wrenching adrenaline highs of that album, I can and will never stop listening to his music--always in hope for another fix of those Icarus-like soaring solos. And so here we have another Believe album. It's their seventh since peeling off of the Satellite wagon in 2006 but first in seven years--and yet another lead vocalist. They've all been good (I particularly loved Łukasz Ociepa from 2017's Seven Windows) but Jinian Wilde might be the most complete one they've had.

1. "Hold On" (21:22) opens with a very catchy two chord motif that is performed as by a string quartet. For three and a half minutes--even when new singer Jinian Wilde joins in--remains really engaging, really enteresting. Then, at 3:30 the rock band bursts forth with a typically-awesome Believe motif: great chord progression with Mirek Gil's signature lead guitar wailing away out front but everybody else sticking close by in a rich/lush weave. Man! Has prog ever generated a warm, comforting sound better than this! Jinian does a wonderful job with creating those great vocal melodies one expects from Mirek Gil songs but also with the layered harmony and background vocals. At the 12-minute mark there is a complete break and restart from the previous motif, this time a little heavier with ominous church organ chords and deep thick bass notes that are balanced by mandolin-like picked arpeggi up top. Here Jinian tries to go fiercer with his vocals, alternating his assertive delivery of the lyrics with some of Mirek's signatory electric guitar flash-leads. After a long instrumental slow-build and vehicle for some nice Mirek Gil soloing, the music drops down at 19:30 to an acoustic guitar-plus-"strings" variation of the opening two chord motif. This is what plays out to the song's end. What a gorgeous ride! I'd do that again in a hearbeat! There are no real innovative or truly astonishing high points, but the overall quality and enjoyability definitely counts for something. (37.5/40)

2. "Wicked Flame" (11:44) I'm not sure what happened here but the mixing of Jinian's vocal track is both muted and far farther back than I would ever have expected. On the positive side, the recording/engineering and mix of all of the other instruments are incredible: Satomi's violin rarely gets this kind of forward presence or crystal clarity--though it still sounds perfectly set within the mix of the other instruments. Jinian's performance feels a bit forced and, therefore, false in the fourth and fifth minutes, but then an acoustic guitar strumming section bridges the music over into some fine string-woven heavy prog--almost string quartet-like even though some of the instruments in the weave are electric. This is by no means a bad song it's just got some flaws (besides feeling not-fully-polished). The cool instrumental groove that picks up at 6:40 is nurturing my soul, though the ensuing Mirek Gil guitar flourish falls a bit flat, but the following vocalized section feels like Jinian's best part of the song. (17.75/20)

3. "Shadowland" (11:21) opening with Jinian in the lead role, his vocal and melody choices are okay. The keyboard music beneath gets more and more interesting as they careen through the second minute, but then they coalesce into a full-band motif for a bit before cutting out and leaving a droning spaciousness for Jinian to try again. The progression into the heavy prog instrumental motif is this time almost perfection: great keyboards, great upper register electric violin, great supportive electric guitar and bass staccato chords, great drum punctuation. This is one of Believe's more interesting (and, for them, unusual) song constructs I've heard in long time. The instrumental section plays out for a few minutes with some nice violin soloing, electric guitar riffing, and doubling up by the two. At 6:40 we return to another sparsely-(synth-)supported vocals--which then takes an unexpected turn at 7:30. There's an overall very STYX- like feeling to this music--to this song. I think it's due to both the vocal and the unusual keyboard sounds used (which I really like). And then, as if on cue, a piano solo! Again, it's not a great song, but there's not much else as good out there today. (I always have this gnawing feeling that if some great producer were able to get involved with these artists they could easily produce one of the greatest progressive rock albums of all-time.) (17.875/20)

4. "By My Tears" (11:17) the first minutes of this song are very bland, almost flat, and definitely not very engaging or exciting. It just sounds like every NeoProg band of the last 15 years. In the fifth minute, however, the introduction of some great background vocals and fiery Satomi violin play lift the song from boring mediocrity to a different level. Mirek's superheated guitar begins to join in, to try to lift it even higher, but then the music steps back into a more Prog Folk palette and then, shockingly, at 6:45, into a symphonic/theater-like bridge of staccato chords progressing toward something crescendo like--which Mirek Gil tries to fill (but, once again, never quite reaches the mountain top). The weave that surrounds, supports, and lifts Mirek up over the next minute is awesome--and works to a degree as Mirek seems to come flying out of the melée like Tom Cruise out of a perilous situation. Wow! Now that I was not expecting. Another song that is really tough to rate. (17.75/20)

5. "Shine" (7:28) a very nice NeoProg song with somewhat simple and oddly incongruously mixed sound palette that happens to hit on several awesome ear-candy riffs and motifs. I do, however, feel compelled to rate this down slightly for "uneven" or even "layered" mixing. (13.375/15)

Total Time 63:13

New vocalist Jinian Wilde is quite talented, his highs very high, though he has some weaknesses that, hopefully, will be improved upon, I really enjoyed his workings of the background vocal arrangements. But the real revelation of this album comes from Satomi! Her keyboard play (and sound choices) are so creative. And it's so wonderful to hear her violin not only so distinctly but also moved forward into prominence in the mix. On previous albums' songs there were many, many times that I felt the violin was completely buried in the mix.

A-/five stars; a minor masterpiece of quite enjoyable progressive rock music. The first song is the best but each of the others are close behind. The Wyrding Way definitely offers a refreshing reboot of the Believe sound and way.

 The Wyrding Way by BELIEVE album cover Studio Album, 2024
4.39 | 45 ratings

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The Wyrding Way
Believe Neo-Prog

Review by alainPP

5 stars 1. Hold On slow intro, dark, annoying violin, a bit of guitar and the typical sound, COLLAGE, not BELIEVE because more acoustic, pop especially. Folk with always Mirosław on guitar diffusing a velvety, bewitching prog sound; the new vocal Jinian with the consensual voice that we have to get used to; Satomi's violin is drowned in the mass, a plus; the progressive declination has its effect, melting between the voice incorporating itself into the range; halfway through we are captivated by the clarity of the violin, I think of one of my friends who is going to laugh 'My top of the year' since he loves the violin he is going to swoon; new acoustic break with a Genesis arpeggio and this time the solemn organ that makes the remaining hair wet; the guitar, I persist one of the most beautiful with that of the late Piotr of RIVERSIDE brings the progeux to his knees. Attention a second aerial solo, even higher, occurs, the Altman is there; long captivating instrumental degressive finale with a zest of melancholy. 2. Wicked Flame arrives, like a BOND soundtrack; the air between COLLAGE and BELIEVE with the violin incrusted, lacking relief in fact, the melody taking over with an already languid Jinian, sailing at the whim of the MARILLION break, heavy bass and slamming pad. The stratospheric solo amalgamates everything into a marshmallow spleen melody; there are 3 minutes left and the air becomes prog metal, heavy metal; fiery finale exploding between the bass, the synth and the swirling air, superb.

3. Shadowland with ambient softness, divine flute and vocals in front on this ballad where the guitar weaves its melody supported by the violin; we would think we were on an ARENA title. Break from the great neo era oozing spleen and advancing on a languid violin-guitar flight, like in the good old days. The sound of the Polish school comes to light, letting the instruments rise; this entrechat with the well-integrated voice increases the listening pleasure; title where Maciek's final piano reinforces the melodic and neo-classical grandiloquence 4. By My Tears with the direct attack of Polish prog blood with synths and Satomi's violin; a nostalgic acoustic piece, vibrant piano and martial pad. The vocals with their languid choirs give way letting Mirosław release the divine solo, the one that makes you shiver, followed by violin then the funky-jazzy-folkloric drift. The finale with a breathtaking solo by Mr GIL brings the piece very high in the new symphonic prog 5. Shine starts on a whirling melody tone; a pregnant, invasive bass, a marshmallow vocal, an imprint that comforts me in the sound of the triptych COLLAGE, SATELLITE and BELIEVE associated for their major reminiscences potentiated on romanticism, sure value of prog without borders. A strong comeback with the violin again to end the album as at its beginning but here with wisdom, emotion and contemplation; the slap. (4.75)

 The Wyrding Way by BELIEVE album cover Studio Album, 2024
4.39 | 45 ratings

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The Wyrding Way
Believe Neo-Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars A seven-year wait is way too long a penitence, after the sublime Seven Windows (2017), this celebrated Polish combo launches The Wyrding Way, reuniting the core of guitarist extraordinaire Miroslaw Gil, the exotic Satomi on violin and keyboards, bassist Przemas Zawadzki and new recruit Maciek Caputa on the percussion front. The lead vocalist chair has been historically an endless revolving door, resembling the infamous Roxy Music bassist position, as the band introduces Jinian Wilde. The Polish scene has always been somewhat volatile with groups vanishing (the sadly dormant Albion, State Urge, Lebowski, Thrilos and Satellite) and others returning into the spotlight (Collage, The Adekaem and Fren).

Five beefy tracks with well over an hour of glittering music, Believe lights the fuse with a comprehensive 21 minute + megalodon "Hold On" that makes you want to grab the hand rails for the unflinching adventure will provide many twists and turns along the way. Satomi's famed violin paves the path with an immutable sorrow, the thoughtful Wilde vocals treading onto the solemn theme, displaying an adamant restraint, as the melody takes shape. Mirek Gil' s illuminating guitar gathers in the crew as they trespass into the fold, the bass expertly surveying the road ahead. The lyrics are clever, with its Le Carre hints that have more to do with the daily routine as opposed to the spy game. The fluid electric guitar and the graceful violin trade strings throughout the blossoming arrangement, unflinchingly assisted by a solid rhythm section that keeps things nice and tight. An acoustic guitar inflection indicates a noticeable variation that further widens the scope, a rousing organ sway underpinned by a swirling bass and drum channel. Gil infuses a trembling riff that speaks volumes, Wilde suggesting an urgent sense of 'helter-skelter in a masquerade' and 'perhaps another chance to be reborn', the fuse is now lit for a patented Gil solo that stamps his soaring style with the seal of perfection. Still holding on tightly as the piece veers once again into despondency and desolation, the second axe solo now way more dejected and apprehensive, as if the fear of letting go may appear just around the corner. When the strings infringe on the pain by elevating the numbness, the pensive solitude returns to its initial opening theme.

A trio of 11-minute tracks take over the menu, "Wicked Flame" comes across as a sublime Bond-like prog theme (the title rhymes with the spy game after all), the undaunted violin egging on Wilde's steadfast microphone performance, the adamant pace navigating carefully the scorching sparks of orange light. The sweltering bass shuffles the mood into a short Gil sizzle, the drumbeats crackling, warm keyboards maintaining the temperature and a lead vocalist on fire. The final ember is a volcanic explosion that sputters gently into ashes. Absolutely brilliant track. Jinian Wilde unwraps his gifts of voice eloquently on "Shadowland", a swooning ballad guided by a bass undertow and an overhead violin that bursts into a musical inflorescence, leaving the insistent Mirek Gil guitar to weave its unbounded magic, lush with both tone and technique. Grandiose and bombastic as it keeps expanding in emotion, the violin encroaches with authority, boldly suggesting an imminent hope for freedom, haunted by an unexpected piano solo from drummer Maciek Caputa that coronates this piece with even more class. Crushingly poignant, a truly Polish attribute by all accounts, the obscure "By My Tears" hits the lachrymose glands with no mercy, a painful musical memory of a bruised soul. The instrumental palette is desirably intimate, the harmony vocal work stupendous, the velvet violin intense and the two Gil fretboard moments are just plain out of this world, insistent, dramatic and immutable solos that singe the mind. Stunning piece.

I have never come across a track entitled "Shine" that stunk, seemingly a glistening word that can evoke nothing but excellence, just like the Sylvan piece of the same name. Wilde consolidates his credentials with another compelling performance. A mere 7 and a half minutes in length, it serves as a fitting illumination on the horizon, encompassing all the classic Collage/Satellite/Believe tradition. The Poles are such a passionate, romantic, at times even fatalistic people, having survived more tragedies than one could possibly imagine, and it reflects in their music and their culture. Hopeful, at times sad, resolute and courageous. That is why they shine. The band should never allow itself to stay away from the public eye for such extended biblical periods, its unfair. Both "Seven Windows" and "The Wyrding Way" are testaments to the quality of this meticulous prog combo, and we can only wish for more, and soon.

Shout out at the cover art, it is ingeniously attractive. 5 unimaginable maneuvers

 The Wyrding Way by BELIEVE album cover Studio Album, 2024
4.39 | 45 ratings

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The Wyrding Way
Believe Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars It seems that, in Polish neo prog circles, as COLLAGE and its successor SATELLITE go, so goes long detached offshoot BELIEVE, and I might even add vice versa. Some time after BELIEVE's 2017 triumph "Seven Widows" came the first COLLAGE album in a quarter century, With the splendid "Over and Out", in addition to picking up where they and SATELLITE had left off, Woljek Szadowski had been listening intently to Mirek Gil's BELIEVE, and, apart from incorporating those atmospheres, got caught in the revolving vocalist saga that has dogged both groups throughout their colorful history. To close the loop for the here and now, Gil has taken lessons from the COLLAGE reunion for good and bad, and returned with a new vocalist (duh) Jinian Wilde in "The Wyrding Way". It also coincidentally begins with a 20+ minute track followed by mostly pieces in the 10 minute range from there. If you aren't confused yet, I endeavor to finish that job in the next few minutes.

The titular expression refers to the use of witchcraft and such to plot one's own destiny. Appropriately the music here is perhaps a tad more in the spacey realm than we are used to, with the virtuosic Satomi mostly occupied with keyboards rather than the violin which dominated "Seven Widows". Of course, Gil is still sizzling on expressive occasionally Frippian lead guitars and even a bit of acoustic guitar here and there, and Jinian luckily hails from the school of BELIEVE vocalists. While the rhythm section cannot ever match the freneticism of COLLAGE/SATELLITE, this is almost uniformly excellent, with only "Be My Tears" sacrificing, so to speak, some quality for message.

My two complaints are the slashing of violin bits and their infusion into the arrangements rather than soli, and this continued tendency among our cult favorites to string together concepts into overly long epics for the sake of it. For instance, "Wicked Flame" should be the centerpiece but substitutes a wall of sound for the subtle tension and intensity in its last 4 or 5 minutes. Both "Shadowland" and "Shine" more than compensate and are my pics here, though the massive opener runs a close second.

From the perspective of a student of this musical family tree, even mediocre productions are worth the time, but this is anything but. Kudos again to Mirek Gil and company, and may you and your former bandmates continue to spur each other on in spellbinding competition where we are all winners.

 Seven Widows by BELIEVE album cover Studio Album, 2017
4.07 | 178 ratings

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Seven Widows
Believe Neo-Prog

Review by Ligeia9@

4 stars The album a"Seven Widows" discussed here, released in 2017, is the sixth album by the Polish prog band Believe. The music on this album is stunningly beautiful, which is quite surprising given how the band's journey began. The band, centered around the masterful guitarist Miroslaw Gil, who became legendary with Collage, debuted in 2006 with "Hope To See Another Day." The industrial sound that permeated that album didn't appeal to me, and I also disliked the gritty Seattle sound of the guitar chords. What particularly bothered me about that album was the theatrical singing style. The album presented an awkward mix of dark melancholic neo-prog and a kind of pseudo-hard rock/metal. Over the years, and after some significant lineup changes, the band has grown immensely, culminating in the "Seven Widows" album discussed here.

What has remained consistent, and what stands out as a defining feature of "Seven Widows," is the dark melancholy. However, the execution here is far superior, and the compositions are genuinely sincere.

The main assets of Believe are, of course, guitarist Gil and the Japanese violinist Satomi, who also enriches the music with beautiful keyboard work. They frequently fill the compositions with lyrical melodies and graceful phrases. Sometimes they combine their passions, as in the theme of the opening track, while at other times they bring out the best in themselves in individual shining moments. The enchanting violin solo in the world music section of track IV is a prime example of the latter. The guitar solo at the end of the closing track VII is spine-tingling and will be a delight for Collage fans. Throughout the album, Gil and Satomi constantly confront you with their prowess. Occasionally, there's an acoustic guitar, like in track II, while other times it gets intense, as in track VII, where it leans towards Gothic rock. Most of the time, however, you're in the realm of neo-prog, where the term "gritty" doesn't quite capture it but comes close.

The entire album is anchored by the prominent bass guitar and drums. Przemysław Zawadzki and Robert Kubajek effortlessly navigate through the many irregular time signatures without making the music feel hectic or unmanageable. It's skillful playing all around.

The man who can make or break the album with his performance is the vocalist, Lukasz Ociepa. He is new to the band and faces the unenviable task of being the third vocalist to add his voice to this intriguing music. He does a great job, often reminding listeners of his predecessor Karol Wróblewski, and when he gets emotional, he sounds like how the first singer should have sounded. Ociepa has his finest moment in track III, where he fully unleashes in the choruses. It's a shame that he left the band after this album.

According to their website, Believe is set to release a new album in 2021, with a fourth vocalist on board. If that album is even half as good as "Seven Widows," it will be excellent.

Orginally posted on www.progenrock.com

 Seven Widows by BELIEVE album cover Studio Album, 2017
4.07 | 178 ratings

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Seven Widows
Believe Neo-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Trying to cleanup some of the Neo-Prog albums I missed the first time around as I want to post my favourite Neo albums of all time soon. BELIEVE are from Poland and the project of guitar Mirek Gil who was part of one of my favourite Neo records called "Moonshine". Honestly I think it's his presence here that has caused this to be under that sub-genre more than the music itself. Loved the debut "Hope To See Another Day" along with the followup "Yesterday Is A Friend" but the three in between the new one and those I missed mostly due to poor feedback on those. This is a return to form. A new singer who is a little more emotional which suits the subject matter here perfectly.

I mean we're talking about widows throughout and this is sad. It helps with the violin and atmosphere provided mostly by the keyboards which is mostly how they are used here. Gil's guitar soars high as usual. I really got into this from the first spin, I just like that sound. Melancholy, atmosphere, soaring guitar and those vocals create a special recording. There are no titles other than "I" to "VII". It would have been cool to have an idea with related titles to each widow but at least we have the lyrics as he sings in English. Favourite track is "IV" at just over 11 1/2 minutes it's a great ride with repeated themes. Congrats Mirek!

 Hope to see another day, Live by BELIEVE album cover DVD/Video, 2008
3.85 | 19 ratings

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Hope to see another day, Live
Believe Neo-Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars As the title suggests, this live DVD reprises the debut album by premier league Polish neo prog - or "art rock" as leader-guitarist Mirek Gil seems to prefer - band. I was going to add that this at times heavy and grungy album proved to be atypical as the band's legacy has expanded over a decade and a half, but in fact all BELIEVE albums have shattered the templates that others may have unimaginatively laid out for them. This was readily apparent on the sophomore release "Yesterday is a Friend", that had been mostly completed at the time of the concert, which featured one of its many sparkling numbers as a preview, "Memories". In addition, the band digs back into the MR GIL catalog, which at the time included only the one album, "Alone", to present a revitalized version of "Beggar".

One of the extras on the DVD is an interview with Mirek Gil and vocalist Tomek Rozycki, which was recorded earlier on concert day, and these two old COLLAGE bandmates talk about how BELIEVE came to be and how they, while a successor to COLLAGE in some obvious respects, are also about the organic development of a unique sound, for which considerable credit is given to Japanese classically trained violinist Satomi. They even express some regret for not exploiting her talents fully on that first album. It is clear from the DVD that Satomi also augments the stage visuals of the band with her contrasting look amidst the middle aged men all about her. Whatever restraint may have been applied in the studio, for whatever reason, she is all over this concert, presaging how much her influence would be brought to bear on "Yesterday is Friend". As a result, this live momento largely eclipses the studio work, particularly on "Don't Tell Me", which segues from tender ballad to one of Gil's most blistering solos while somehow remaining balladic. Both "Memories" and "Beggar" benefit from being outside the at times downbeat atmosphere of the others, and in fact in the interview Rozycki alludes to the upcoming album as having a lighter touch.

The band's stage presence, while appropriately serious for this type of music, seems more delicate and yet paradoxically more ponderous than most of their contemporaries and than the album from which most selections are drawn. The last couple of tracks, particularly "Coming Down", attempt to resurrect audience participation but the exercise is largely futile as it's one of the weaker numbers and it doesn't help that the polite spectators haven't heard it before and aren't sold on the part they are asked to play. It's the type of artificially expanded number that has diminished 63% of live recordings, which is a metric I propose without precision or proof.

An additional bonus is audio of two more superb songs from the next album. Obviously no blank check was involved in the production of the DVD but Metal Mind productions does an admirable job of working within those constraints. This is an intimate live snapshot of a creative group at an early stage, who have probably lived to see many more days than they could have ever imagined.

 Seven Widows by BELIEVE album cover Studio Album, 2017
4.07 | 178 ratings

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Seven Widows
Believe Neo-Prog

Review by Warthur
Prog Reviewer

5 stars I was one of many who were highly impressed by Believe's Yesterday Is a Friend, but who found that following albums failed to live up to the high bar set to that masterpiece of the Polish neo-prog scene; regular flux in the group's lineup hardly helped. Then you had the reformation of precursor band Collage in 2015, with Believe band leader Mirek Gil returning to the guitar spot there and bringing along then-current Believe lead vocalist Karol Wróblewski to act as the new frontman for the reformed group. You'd have been forgiven for wondering whether Believe were done for.

However, it wasn't long into the reunion that Mirek bowed out again, perhaps wisely deciding that whilst a bit of nostalgia from time to time can clear the air, too much can bog you down. Łukasz Ociepa joins this time around as vocalist, and Robert Kubajek is the new drummer; the rhythm section is rounded out by the trusty Przemysław Zawadzki on bass, whilst the album also sees a welcome return of violinist Satomi to the fold.

Though she had appeared on The Warmest Sun In Winter, Satomi's contribution had been limited there to just a guest appearance on a couple of tracks (one of which was, strictly speaking, a bonus track), in keeping with the regrettable tendency on the Karol-fronted albums (This Bread Is Mine, World Is Round and Warmest Sun) to play down her contributions more and more over time.

Thankfully, Seven Widows radically reverses this trend, not only reinstating her as a full band member where she belongs - Yesterday Is a Friend would never have been the masterpiece it was without her contributions - but also relying on her more than ever, expanding her duties to include keyboards, which she turns out to be an adept hand at as well.

Indeed, composed as it is of a suite of seven parts, Seven Widows largely finds Believe tearing up the strategy they'd followed during the Karol-fronted era and plotting a brand new course, favouring the most progressive aspects of their sound. Gone are the various sops to poppier or grungier or otherwise more mainstream-leaning genres which had turned me off World Is Round, and which crop up as criticisms of other Karol-fronted material.

Whether that direction was prompted by an attempt to play to Karol's strengths as a vocalist or a bid by Gil to take the band into the mainstream, that's done now; if you enjoyed the Karol-fronted albums, you should come to Seven Widows expected a sudden (but perhaps welcome) change in course, whereas if you were one of us who felt that Believe had lost their way since Yesterday Is a Friend then take heart - finally, Seven Widows has offered a true followup to that album's approach. No mere remake, it's a journey down the path not previously taken after Yesterday - and if it represents Believe's tomorrow, I can only look forward to their next album with eagerness.

Thanks to stonebeard for the artist addition. and to NotAProghead for the last updates

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