|Track by Track Review
This is an epic opener, with a message to stay away from anger and not let it own you. With lyrics interpreted by Marcin Rybaci, it features an extraordinary mid section with a double tracked vocal, followed by an amazing keyboard solo with a big proggy synth touch that makes way for a guitar solo outro. This is simply brilliant, and by the time it’s over, a breathtaking experience.
|Steal Your Heart|
There is everything from classic rock to AOR prog and 80s metal written all over this. It has a very familiar ring to it because of that, and like the previous track it plays in an epic fashion, even with its strong metal edge. Somehow when you wrap it all up it’s another brilliant track.
This has the most commercial appeal on offer so far, but at the same time it maintains a sort of hardcore vibe to it with a mixture of synth heavy rock. Additionally, there’s an urban feel and a sort of death metal vocal section thrown in for an even more heavy approach. Yet it does still have an overall light and even appeal to make it accessible enough for crossover factors.
|At The Desert|
A softer ballad takes over at just the right time, and what a thing of beauty this is. It is another track with a guitar solo that takes it out. By this time it is apparent that this is an awesome album with all kinds of great music on it already. You can’t help but love it more and more as it goes. This is killer!
This is certainly different, with a light and fluffy, yet funky and pedestrian side to it, and a hard rock guitar solo thrown into the mix. Once again, it all makes a great combo of a tune. Great lyrics help it all the more, which mark a second appearance by the gifted Marcin Rybaci, for his contributions.
They seem to weave most of the influences found on every track so far on this amazing piece of work. Still, all in all, the guitar seems to dominate nicely, if anything were to stand out the most. This is just another completely awesome cut.
Getting back into a ballad feel, this one is probably the least interesting track and most obvious to its title. That said, it still features a lot of endearing qualities, so I can see why they included it. And once again Piotr Brzychcy provides some sizzling guitar work that goes the distance to make it what it is.
This is another prog heavy track. In fact, it’s probably one of the most prog numbers on offer, with still a mainstream guitar sound to it, keeping it on the AOR side. This is just another amazing track, that is all there is to say about it. But I can add that is has a very Doogie White appeal to it, since he has done guest vocals for them. This just sounds perfect for him in every way.
|On The Station|
You have to love how everything balances out so well by this time on the disc. Here we are treated to another epic track that seems to have every thing going for it, except it does come to a bit of an abrupt end. Other than that little complaint there simply isn’t one bad thing to say about it.
|Child in Time|
Staying close to the Ian Gillan Band version from 1976, this extraordinary cover starts off a bit bluesier than that or the original Deep Purple version, with surprisingly no organ chords. The vocals do cut what is no easy feat in the history of rock, and anyone who knows this song would likely agree with that much. It features a mellow guitar solo which is a precision perfect touch. It does come back with an homage to Jon Lord at the end with some piano chords after all, but not before the second searing, and magnificent vocal run, as well as some more tasteful bluesy licks thrown in. This is a satisfyingly melodramatic way to end a remarkable album (or at least the album proper) that has so much going for it, it’s almost too good.
|Rising Anger (instrumental mix)|
This really works as well as an instrumental as well as it does with vocals, as it goes a long way in showing what an excellent backing track it is, either way. Once again this is an epic delivery.
|Burnin’ Inside (instrumental mix)|
This works even better in instrumental form because the song is so complex that it can use one or perhaps even more layers and still go over well. The music on this track, and the entire album is so good, that is one of the least things to be said about it. I’m glad they included these two instrumental mixes, to get both sides of two of the discs obvious masterstrokes.
|Gbyby Upadt Swiat|
An acoustic sweeping begins and a perfect electric guitar motif is placed over it, with an underlying blues organ to match the eloquent intro that sets up this lovely tune. This is the first of three tracks sung in Polish. It is a soft ballad with an almost country flavored guitar bite to it. I think it would fit anywhere on the album, sung in either language. What a fine track this is, whether understood or not. It’s a very festive piece of music, with a most soothing and healing quality.
This is similar to one of the previous album cuts, in that it contains a death metal vocal section, only it works much better this time in Polish. It’s important not to expect it in the hardcore sense, because this isn’t actually a death metal band, it’s done with a very playful, rather than serious effect. On both mildly successful attempts, which I can do with or without, but am not the least bit bothered by on what is such a strong release.
Once more, a peculiarly interesting track is pulled off to epic proportions in their native tongue. In fact, this contends with just about anything on the entire disc. It’s that good, leaving not much left to say but to recommend every drop of it.
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