SEA VINE

Second album of polish power trio Sea Vine, Król i Królowa' (the King and the Queen) keeps on bringing bringing to the fore keyboards filled with mystery and fright in a whirlwind of twisted and pulsated pace in turn.

Overwhelming keyboards, dizzying rhythms and sparse chant: it's obviously SBB that comes to mind mind, a band to which Sea Vine pays a tribute in the cover that closes the album. Just as the Moon, far from the Earth yet at the same time attracted by a gravitational force, this version keeps a link with original pieces. The latter ones transition nevertheless to each other like the movements of a suite, as to keep a consistency in a contrasted universe where cheerfulness and torments entertwine in a way similar similar to the chiaroscuro of a Rembrandt's painting. Swinging between a dive in dark abysses dominated dominated by dreadful quietness and a bath in clear waters filled with comforting agitation, it's a game game of mirrors that takes place. Although few room is left to (female) chant, the declamatory tone filled filled with pain comes in a right way to give a more freezing side to the picture. Along the same lines, words words are not chosen by accident (ciemność (darkness), ból (pain), terrified...). Moreover, the ghost of Józef Skrzek haunts not only the old dusted room of SBB house, but also the finale of "Transformacja" in the petrifying sounds of an organ that is as majestic as the facade of a cathedral cathedral.

Making textural researches of a bygone age and the rhythmic approach of our era meet, Sea Vine is a band that could be the key that new generations raised on dancing beats could hold to open the door door to the progressive Wonderland

Although this is being portrayed as a band album, for the most part this is the work of keyboard player Michal Cywinski, who also provides drums (ok, programming) on five of the six songs. With a guest guitarist on 1, a drummer on another, and a singer only on a few, one wonders why he hasn't put this out as a straight solo project and why did he get the others involved at all? Michal has a wonderful touch on piano, and the production is quite superb so that one has a great presence of being with him in the room. But, what I do find strange is that on the solo piano piece, "Going Anywhere", there are a few wrong notes so I wonder why that has been kept in?

It appears that he is more at home with piano than electronic keyboards, as the sounds being deployed are often very dated, and without the passion and emotion that comes through when he is playing more naturally. There are times when this album does cross into the more Tangerine Dream electronic style, and not always in the best way possible. But, the major issue I have with this album is with singer Milena Szymanska who for the most part does a fine job with her clear vocals, but there are passages where she is obviously struggling. I could understand that appearing in the final product if this was a live album (with no re-recording, not that anyone ever does that..) but there is no excuse with a studio effort. So although there were parts of the album that were really quite pleasant, it was rarely more than that and at times it was worse, so this isn't something to which I will often be returning. www.lynxmusic.pl

I'm glad to be the first one to write the review of this album. The band should have someone at their side although I'll try to be as much critical as possible. I'm on their side and wishing them all the best for one simple reason - I live quite nearby, in Rumia and they're from Gdansk (which is around 30 km for those living "abroad"). So much for the introduction...

Despite what you can find over the internet that the music is influenced by Tony Banks or Rick Wakeman you'll be rather disappointed if you'd like to hear a copy of the music of those famous guys. The sound of the background layers reminds of Eloy circa about 1980, some other sounds are quite similar to the music of Marek Bilinski from the beginning of 80s. But then the cooperation of the keyboards with the drums is quite similar to American retro duo Zombi, as well as the sound of the equipment used. This gives you the best idea what you can find on the debut album. Of course the combination of all elements is quite unique however is dangerously close to Zombi in general. Sometimes the only thing to tell the difference is Milena's vocal which is used too rarely in my opinion. Of course I know that the convention requires less vocals and much more space for the instrumental parts. But progressive rock is general for breaking all the conventions, isn't it?

The sound is quite good. The idea of improvised music combined with quite nice melodies is also good. What's wrong then? Unfortunately there are couple of things. First of all I cannot feel the band's chemistry in that. It's a project not a band. The music coming from a band should be more organic. Second is what I already mentioned ? almost lack of vocals. The proportions between vocal parts and instrumental parts are not quite well balanced. Also I can hear some mistakes recorded in the vocal parts (Circus). That shouldn't be on the final album. The rest is the matter of individual taste and you have to listen to that to make your own mind. But the general impression is quite positive. Sea Vine have the unique sound, they're quite recognizable which is rather sensational on the first album. I believe that the second one will be better. To be honest I wish them that.

PS. Actual rating should be 3,5. But it's impossible to rate like this here. It's not "Teraz Rock" after all...