COLLAGE

Collage is a Prog band from Poland that made their name in the 1990's, putting out 4 albums between 1990 and 1995, including the classic Moonshine (1994), and establishing themselves as Poland's answer to Marillion, showing a somewhat similar sound and style (as well as the influences of the bands that shaped Marillion, such as Genesis, Yes, Rush, etc.), but then split, with band members going their separate ways. But now they are back again, with a new vocalist and guitarist, and the rest being from the original lineup, and this new album, Over and Out. And wow, they have not lost anything in those intervening years, as this is a top-notch album of Neo Prog riches. Yes, their sound is still heavily reminiscent of Marillion from the Fish era (they even have Marillion's Steve Rothery as a guest soloist on one track), but in the very best way, as the album is full of that lush, majestic sound, provocative themes, emotive vocals, great melodic lines, and exhilarating instrumental passages with soaring guitar and swirling keyboards. Yes, it may be similar in style to what we've heard before, but they have polished and refined the style (and added some new elements) to reach new heights and provide an album that still seems fresh amidst the current Prog scene (and for my money I'll take this over the current version of Marillion all day long). The album consists of 5 songs, with all but one being at least 8 min long, and all are very good to great. Highlights include the 20-min epic title track, quite a masterpiece of sound and style going through a range of creative musical segments, as well as What About the Pain? and Man in the Middle. A very welcome return for Collage, and an album that would have ranked among the best of 2022 (if I had heard it in 2022). Best Tracks: Over and Out, A Moment A Feeling, What About the Pain, Man in the Middle. Weak Tracks: none. Rating: 4 stars

5 stars is completely inadequate for this album. I had never heard Polish band Collage until I found this album on youtube and I only had to listen to it twice to know I had to own it and it arrived today. It's slightly dreamy and relaxing and simply incredibly beautiful. It easily makes my top 10 albums of all time. The album is supremely melodic and beautifully played. Robert Arminian gives a vocal performance to rival any other singer in prog, Mirek Gil has a very unusual style and guitar tone and contributes some superb solos, mostly towards the top of the fretboard. Krzysztof Palczewski's keyboards are wonderful, adding atmosphere and melody and bassist Piotr Mitlowski and drummer Wojtek Szadkowski form a mighty rhythm section. Others have described each track in detail, so I won't repeat their analysis. All I'll say is that there are no bad or mediocre tracks whatsoever; indeed every one is a gem. Heroes Cry and Living in the Moonlight would easily grace any "Best of Prog" album and the others are not far behind. But the highlight is the beautiful finale, War is Over, one of the most uplifting songs ever. If only the chorus were true. The final touch of genius is the fade out with mandolin and accordion. And the word "uplifting" characterises this album perfectly: there's nothing dark or depressive about it, and that suits me fine. This rivals any of the many superb albums by IQ, Marillion, Arena, Pendragon and Pallas in the realms of neo-prog, yet stylistically is distinct from all of them. They've clearly listened to those bands and extracted the best from all of them to distil into something new and glorious. Some have described it as "poppy", but having a memorable melody does not make anything "poppy". Unhesitatingly recommended to anyone who likes any of those bands.

This album starts with the epic Over and Out. I think it starts strong, but I am not fond of the part where they sing "I can see the light" over and over. It sounds dated and overdone. 7/10

What about the pain is well played, but also doesn't sound very refreshing to me. I especially have issues with the corny lyrics. 7/10

One empty hand is solid but not surprising. 7/10

A moment a feeling is the moment I start to think all songs on this album are very much alike. 7/10 an in the middle confirms this notion. 7/10

I have heard better versions of this type of music long ago. I'm not impressed. I rate this 2 stars and fans only.

Having formed almost four decades ago, COLLAGE proved to be Poland's answer to Marillion through the 1990s with its larger than life synthesizer attacks and sweeping guitar licks. The band was clearly in league with the greats of neo-prog having crafted four albums in the 1990s with 1994's "Moonshine" reaching classic status. Like many Eastern European bands of the era though COLLAGE never really garnered the attention they deserved and have remained somewhat of an obscurity until now!

The band formed as far back as 1987 in Warsaw and stuck around as late as 2003 despite the band's last album "Safe" emerging in 1996. The band reformed in 2013 abut hasn't released any new material. Until now! OVER AND OUT may only be the band's fifth album in nearly four decades of existence but give me quality over quantity any day and OVER AND OUT delivers the neo-prog goods in a way only a bunch of seasoned veterans can.

Despite new vocalist Karol Wrobleski taking on the lead singing roles since 2013, COLLAGE still has the template of the Fish-era Marillion days which has been both a boon and bane of its existence. Perhaps not the most terribly original band on the scene there is no doubt that COLLAGE has crafted this particular style of 80s neo-prog and picked up where Marillion left off and in a most grandiose manner. OVER AND OUT is a powerhouse of explosive neo-prog that delivers tight energetic performances drenched with dueling guitar and synth runs along with beautifully extended passages. Amazing feat considering the 27-year gap between this and the last album.

The opening track delivers what prog dreams are made of, namely an epic sounding behemoth of a track that is just shy of the 22-minute mark. Tinkling piano melodies, a passionate vocal performance and epic synth-laden grandiosity is what makes this opener instantly addictive. The Mark I era of Marillion may still be the dominant inspiration in COLLAGE's musical mojo but the band does indeed succeed in sounding just far enough removed to exist in its own little branch of the neo-proggo-sphere. And while the opening title track certainly steals the limelight with all the grandiose prog pomposity the album doesn't let up and continues delivering the goods.

Layering synth motifs and gentle breezy guitar parts are only one part of making a great neo-prog album. Existing in the more pop-laden section of the prog superstore, this is a genre that simply must capture your heart with irresistible melodic hooks and OVER AND OUT goes above and beyond the call of duty in mustering up some of the best ear heroin that prog has to offer. In addition COLLAGE has avoided all the pitfalls of sounding cheesy which melodic bands can often fall victim too. Kossowicz' vocals are tender yet forceful and offer a nice range of emotive displays. What puts this album over the top though is the amazing synthesizer works of Krzysztof Palczewski who works perfect in tandem with the guitar work of Michał Kirmuć to craft a larger than life effect.

It's been a long haul for COLLAGE and it's always exciting to find a band from so long ago make a triumphant comeback that matches their peak performances so many decades ago. Judging from OVER AND OUT it seems that COLLAGE is only getting warmed up for their comeback as this album has retained the energetic surge of energy that neo-prog has been delivering in the 21st century. Poland may have produced a number of neo-prog bands ranging from Satellite and Quidam to Abraxas and Millenium but has never really caught on in the English speaking world in terms of popularity however after experiencing this magnificent melodic gem by COLLAGE's comeback 27 years in the making i wouldn't be surprised if this band's time has finally come. Great stuff here. Passionate, dynamic excellently executed.

"Over and Out" is progressive rock at the highest world level. Palczewski, Witkowski and Szadkowski perform their parts with great verve and youthful imaginativeness, presenting the characteristic sound of the band in a modern version. The "new" members of the group fit perfectly into these climates. Michał Kirmuć, although in many places he sounds like Mirek Gil, proves that he also has his own style in playing the guitar, and Bartosz Kossowicz interprets Szadkowski's texts in a sensational way, reaching the heights of vocal art.

Collage are back in a big way. They recorded an album full of emotion and great sounding, with great melodic lines, wonderful keyboards and a perfect rhythm section. It is a very successful comeback, in no way inferior to "Moonshine" - Collage's most famous work.

5/5

Collage cult group formed in 1985, releasing the unidentified musical object 'Moonshine' in 94, prog standard meter if any; major group with fat and powerful synths, with expressive guitar, which explodes forming Satellite and Believe. Bartosz, who sang with Quidam, comes with Michał, a new guitarist with a Gilian sound, to resuscitate the group 27 years later; an obvious pressure, a feat of reshaping the sound and making you regress pleasantly in their melodic meanders.

'Over and Out' begins sympho-electronic reminding me of the sound of the last Galahad which brings back through the keyboards of Krzysztof and the twirling guitars of Michał to the sound of yesteryear of Mirek, remarkable! Bartosz puts his voiceprint into phrasing-singing and lets the instruments navigate the era of Genesis and Marillion; the mid-term break becomes more symphonic, goes on snowy lands, with an obvious baroque touch; in short, a Collage re-energized as if 30 years had just passed in a few seconds; the final piano and floydian arpeggio launches a spellbinding vocal; piece for fans informed by its length. 'What About the Pain?' looks easier to catch both by the vocals and the plaintive guitar, a melodic title where the synth can remind Tony Banks for a time before leaving on a sympho-atmospheric variation; the finale with children's choir brings an interesting singular touch, continuing with 'One Empty Hand' in an unstoppable melody on a crystalline phrasing and the spleen guitar which made the heyday of 'Moonshine', when memories collide with a updated sound. 'A Moment, a Feeling' continues again, trademark prog, hovering intro that changes from the thundering ones; after that, we go on a retro journey on steep slopes, between symphonic and grandiloquence à la Spock's Beard; the Krzysztof sound and its elusive keys leads far, on a current and modern Collage, which makes me their best title with a vocal experience in withdrawal which has something to do with it. 'Man in the Middle' piano arpeggio, smooth crescendo and a guitar that wants to be different, well Steve Rothery is there; a real solo that takes its place, not just in the lament, here the emotion is felt, the intensity of the musical light comes to light and it lasts; incredible melody far from the Marillion but with a Marillionesque feeling; the title which puts a dantesque end to an agreed, consensual and well-rehearsed album. The finish with finesse.

Collage will divide: on one side a beautiful copy/paste of what they've done best; on the other, a neo-prog mix secretly dreamed of by everyone; a 27-year-old album, a nod to a long-matured whiskey consumed in moderation that you can listen to without moderation here; with enough innovation to enter a top.

Progress or not to progress? That is the question!

After more than a quarter of a century after releasing a masterpiece of music in Moonshine, Polish prog band Collage have returned from the ashes to offer a new album. The follow up and final album Safe came out in 1995 and the band promptly dissolved. Legendary guitarist Mirek Gil went on to ongoing fame with projects Believe and Mr.Gil , while the remaining crew formed Satellite, as well as a slew of related groups like Travellers, Strawberry Fields and Peter Pan. When Over and Out finally emerged from the fog of the past, it was obvious upon first listen that the Collage sound was deemed to be preserved. Not surprising as drummer Wojtek Szadkowski has long been the main composer, along with keyboardist Krzysztof Palczewski as well as bassist Piotr Mintek Witkowski. New singer in Bartosz Kossowicz, who sang with Quidam , another founding Polish prog act, while Michal Kirmuc fills in the big Gil boots , as the melodic guitar style really does make Collage tick. Some have expressed a disappointment with the maintenance of that classic sound, which after 27 years is clearly retro, and it is understandable to always look towards something fresh and new. But this is why Wojtek and crew decided to revive the Collage stylistics, because had they opted for a different tone, it would have been better to create a new band name and moniker. As much as I dislike labels, the truth is that a band is a brand after all. Imagine if Metallica put out an ambient folk synthesizer album with a high-pitched female vocalist who whispers seductively? It isn't Metallica! Called it Velvetica then. The hallmark attributes that made Moonshine such a success was the absolutely whopping melodies, the passionate vocals, the sweeping synthesizers, and Szadkowski's rather remarkable drumming. Mirek Gil has a guitar style not far removed yet still different from Steve Hackett and Steve Rothery (who guest here on the final track) in that sustained powerful notes can be devastatingly effective in expressing emotion. Its all here, and in spades.

Kicking off with a massive 22-minute title track epic is quite the ballsy move, a beeping cardio monitor is a humorous wink at resuscitation as the ominous mood sets in, piano and synths in full glory, as the rest of the crew enter the fray, particularly Bartosz' exalted whisper that can turn into a shout at a moment's notice. The fluidly aquatic guitar line is captivating as the arrangement follows peaks and valleys, familiar yet with a sense of urgency that is undeniably attractive. Szadkowski certainly proves once again that he is the masterful drummer, pulsing, propelling, and pummelling wherever needed. The classic Genesis visits Marillion tendencies are there, unashamedly vibrant and glowing brightly. With lyrics such as " The moon is the mirror of the sun", the band clearly connects with its proud legacy, the drum and synth interplay provoking raised eyebrows , while the electric axe solo shines brightly into the moonlit night! Its like opening a vintage claret and enjoying every single earthy sip. This is definitely "feel good music", as if some kind of musical celebration of life's renewal after 2 years on isolation! Palczewski has a lovely piano spotlight that warms the heart as Bartosz croons gently. This segues into a stunning acoustic guitar melody of absolute beauty, joining the ornate piano as the piece evolves into a vortex of passion. The finale is bombastic and explosive with some seriously agonized screaming, capped by a ranting and wicked guitar lead. There is nothing sloppy or even predictable here, all is crisp and exciting, just like all good epics! Follow that up with a drop-dead extended ballad in the finest tradition of the majestic "Living in the Moonlight", a fervent vocal evocation that has grandiose stamped all over it, twinned with a sublime melody for the ages, "What About the Pain" is surely the finest ear candy! But again, this is not bland or saccharine at all, loaded as it is to the gills with gritty edge, grizzled agony, and voluptuous liberation. Screeching guitars, mountainous keyboards and thunderous drums really take this piece into the stratosphere! When the child choir appears, the heart is slain. Kirmuc unleashes a writhing guitar solo, elevating this to the loftiest heights. Utterly gorgeous. The lovely piano intro on "One Empty Hand" should penetrate anyone's soul like a hot knife in butter, a melody so overwhelming, it must be sheer genius, as it raises immediate goosebumps. The harrowing vocal is compelling, intense, and convincing. Twirling, fluttering, and shimmering, the axe just lights it up, insistently persuasive. After such an onslaught, maybe its time for another mid-sized epic? "A Moment, A Feeling" chooses a more contemplative intro, ratcheting up the atmosphere with some rapid-fire arrangements that defy gravity (these lads know how to play!), weaving, diving, soaring, gliding, and leaping as if the devil was running after them. The gargantuan keyboard waves find a strong association with the resolute rhythmic percussives, constantly pushing, perhaps even shoving the mood along, to desperate elevations. The guitar just adds to the dazzle. The impeccable vocals confirm once again the crafty quality of the emotions displayed. Deliriously tasty. The gentle finale has the blessed presence of Steve Rothery, as if to stamp this fine release with even more accreditations. "Man in the Middle" pays homage to the famous Marillion, very much in their vein stylistically, especially vocally where Bartosz evokes his inner Fish/Hogarth, a mix of anger, whimsy, bitterness, and unbridled desire. The dexterous guitar shines brightly, scintillating, dazzling in its simple audacity. Brilliant, just brilliant. The beeping monitors brings on the silence.

Maybe formula for some, but this baby sure likes the nourishment it provides! This arrived on December 2, shooting up the ranks of the finest 2022 prog albums. Finally, Moonshine has a partner to play with. It was about time. Beautiful cover art as well.

5 montages

Another band resurfacing after a generation of absence only to rehash its old sound. Don't get me wrong: it's a great sound (except for the 1990s-sounding keyboards--something I've always complained about--even in the 1990s when my brother was collecting keyboards), lush and beautiful--with highly emotional, loud lead guitar leads and very pleasant vocals--but it is a sound that the band made a name for itself in the early 1990s, nothing new, nothing more; I was hoping so much to hear something new, something fresh, instead of more of the same old. (I guess I'm one of those music listeners: not wanting more of the same from a band but wanting to see/hear them grow, experiment, take risks, explore, reinvent themselves, instead of rely on one sound for their "gimmick.")

A song-by-song review will probably be added to this posting later, but for now let's say that this is a great sounding album of nice songs that all feel like I've heard before (minus the nice lyrics); a NeoProg band retro-ing themselves! I may change my mind, but it's very difficult for me to reward bands that "update" old stuff when other bands are working so hard to create fresh, new music.

Four stars; a nice addition to any prog lover's music collection--especially if you love the old Collage sound from the 1990s.

What we miss about the so called golden age of progressive rock is not the particular sound, but everything that happens in between the music. The intensity of emotions, the sincerity, the way of its expression that makes us feel in special way. Maybe this is the reason that Marillion brought so much popularity and why the early neoprog was so much of a disappoitment. The sound of 70s was easy to emulate (or so it seemed) but the spirit of music impossible to bring back. New Collage album can easily be dismissed as clone of early Marillion. But it is not so, it is way too simplified. Yes, the instruments are identical and singer Bartosz Kossowicz has similar timbre and manner to Fish. And even Steven Rothery is present. But I haven't encountered on early Marillion albums such richness and dynamics of sound, such complexity of tunes and arrangements. It is an concept album, starts and ends with sounds of hospital machinery, so the topic is the life not so perfect. Not so perfect childhood ("What About The Pain"), not so perfect love ("One Empty Hand"), hopes not fulfilled ("A Moment A Feeling"). The easy way would be to create a clone of No-Man, Anathema melancholy. But it is not so. This music is rich, various, dynamic. Subtle piano and all the variety of keyboards melodies of Krzysztof Palczewski contrast with powerful singing of Bartosz Kossowicz and sophisticated work of drums, which sometimes double the guitar parts. All of it gives feelings that I found in classic Yes: every musician plays his best at the same time and the music never ceases to intrigue, to captivate. This is the record in which I've found the values I cherished in classic prog masterpiece, therefore a five star rating.

Having accepted the kind invitation to review this album posted in the PA forums, I have to say that I'm under the impression of being in the presence of a piece of work of no lesser scope and impact than Collage's celebrated magnum opus, their third studio release Moonshine. All the virtues shown in that occassion (baroque keyboards-guitar interplay, great melodies, vast scale composition) are still shining here today, and perhaps the result is even more accomplished now, since Over And Out reaches greater consistency, paired with a flawless sense of overall flow.

The only drawback that I find here concerns to originality: the Marillion template is still noticeable under the music, like the bone structure under flesh and skin. This perception is accentuated by the Fish-like tone adopted by the (otherwise excellent) vocalist. But I think the greatness of this album cannot be stopped by that simple evidence of influence. The real meat of each track begins after the presentation of the motivic material, with the construction of infallible climaxes, which are led by an interplay stamped with a strong sense of identity. The true Collage sound, I think, awakes with the sound of the synths sweeping across tonal areas in those continuous displacements from consonance to disonance and back, that go so well with the dark and almost tragical pathos of the band. Besides, you have that perfect blend with the electric guitar, and, of course, the inexhaustible energy of the drummer building close together momentum and musicianship up to prodigious heights.

So, there you have: a strong epic in the opening track, a neo-prog gem in the second, a melodic invitation in the third, a mid-size epic in the fourth, and finally the great prog closer with a cherry on top, courtesy of the guesting guitarist, no other than Mr. Steve Rothery.

Excellent all the way.