Satellite - Into The Night


Year of Release: 2007
Label: Metal Mind
Catalog Number: MMP CD 0559
Format: CD
Total Time: 51:40:00

When Polish prog group Collage ended, it split apart into several separate groups, or parts - sort of a collage in reverse, as it were. One of those parts was Satellite, who in 2003 released their debut, A Street Between Sunrise And Sunset, in 2004 followed that up with Evening Games, and released two additional CDs that we'll examine here in a review of Into The Night (2007) and in a review of Nostalgia (2009). We also examine another branch, which is actually a sub-branch, as Strawberry Fields could be viewed as a side project, the pivot point being drummer Wojtek Szadkowski (although we'll find other Satellite members in the line up). The other branch off Collage comes with Mirek Gil, who was a member of Satellite for the first album, but went off to form first Mr. Gil and then Believe, a band that a also included Przemas Zawadzki, former bassist with Satellite; we reviewed two their works - Hope To See Another Day (2006) and Yesterday Is A Friend (2008) (they also released This Bread Is Mine in 2009)

We start with Into The Night, which reveals a heavier sound. The characteristic elements that define Satellite's sound are still there, but rather than sticking with sweeping, epic melodic prog, the guitar and bass have taken on some more muscle, as have the drums. The tone is darker, harsher, more aggressive. There always was a dark undertone to the music - subject wise. That isn't to say that lighter elements have been abandoned, as you will also find some beautifully contrasting piano and free-flowing guitar solos; the transition from dark to light serves to highlight and heighten (or deepen) the other. Further, this direction is hinted at by the even darker album artwork - tall, gothic-light buildings, that, although alit, have an eerie quality. The entrance to the building of focus is rounded like a tombstone. The bits of light that can be seen in the lower right resemble glowing angels, and there are all sorts of industrial piping coming out of the buildings.

However, I must say that, in going back to Evening Games, this isn't so much a change as continuation of that direction, and it shows even more maturity for the band. While I might mention other artists that come to mind, not once did Marillion come to mind (as did for their first two outings). No, that's not entirely true because I did find a similarity to Steve Hogarth in the phrasing of a word or two, but I'm not picking things apart that much that I was listening for it. It had been so long since I'd played their earlier albums that I've been able to listen to this with, if not fresh, at least fresher, ears.

Things get quite explosive - even bluesy, a bit towards the end - during "Dreams," which at times reminded me of latter day Spock's Beard (that is, post-Morse) - that period from Feel Euphoria through Octane (even a little beyond; haven't heard X yet, so?). Here vocalist Robert Amirian's usually warm vocals are given a bit of an effect which gives them a colder edge. There's another section, about a third of the way through, where the band gets a bit more aggressive (and remind me of Pallas). Love Sarhan Kubeisi's soloing here - so fluid, so expressive, so soaring. But if you have been reading all my scribbles, you know that's the kind of soloing I love to hear.

But Szadkowski is giving equal attention to his drumming, with terrific and interesting tattoos beginning "Into The Night," "Downtown Skyline" -- this one full of dark mystery, hinting at something otherworldly in between the snicks and thumps -- and "Don't Walk Away In Silence," a track where they soon give way to vocals and keys. This is one of those tracks that will stick in the mind, the memorable title in the chorus. It's softer than other tracks on the album, more balladic. "Heaven Can Wait," where the protagonist is on the cusp of death, gives a lot of focus to Krzysiek Palczewski's keyboards - piano-like, smooth and silky synths? the whole collection (Kubeisi does share another fab solo, too). Like "Don't Walk Away?" there's a softer element to this track. A breathier vocal approach as heard on Evening Games. And what came to mind, listening to the lyrics, was a phrase from an Emily Dickinson poem - "because I could not stop for death, he kindly stopped for me." In this song, which doesn't relate at all to the poem, other than through my association, the protagonist is feeling pursued by Death (one might suppose a suicide attempt that one is being drawn back from, I don't know), but now feels reason to live.

"Lights" is a mellow piano (I think a Rhodes electronic piano) only piece ? moody and sparse, it a short bit of atmosphere (it lasts just over two minutes).

And then, to conclude the album, there's the silky smooth "Forgiven And Forgotten," which almost has a 70s soul vibe; not disco, as it's designed for slow dancing (okay, maybe not "designed," but certainly paced for), but I could almost see a glittering disco ball, flashes of silver lame jumpsuits. It's another piece where keyboards and guitars, alternating, drive the track; it's the keyboards that have 70s vibe. But, never fear, Satellite remains on the "safe" side of the line as the song glides into darker, then much darker, realms. We get a passage that is orchestral, epic, soundtrack dramatic, dark (filled with cellos). Then chunkier guitars, more distortion? and come out the other side? back on the dance floor. (And no, "safe" wasn't a wink at their past life as Collage and their album Safe). It took a few listens, but ? think vaguely of Marvin Gaye's "What's Goin On"? I mean, it doesn't sound like it, but it reminds one of it.

It struck me now as I was writing this review the progression through a day their three albums to date hold, if only in title: sunrise, sunset, evening, night. Huh.

What remains with you is the rich tapestry of instrumentation - layers upon layers that work oh so well together, and yet make you want to listen to the CD once for each instrument so that your ears focus on what each is doing. And I can say that I totally loved this album, from the open note to the last, fabulous. My one and only quibble (other than it doesn't go on for longer) is that it ends quite abruptly. And that isn't much of quibble really. It doesn't become truly noticeable if you have it on repeat, which I recommend.


Tracklisting:
Into The Night (6:54) / Dreams (13:30) / Downtown Skyline (6:20) / Lights (2:14) / Don't Walk Away In Silence (7:35) / Heaven Can Wait (9:04) / Forgiven And Forgotten (6:05)

Musicians:
Robert Amiran - vocals
Sarhan Kubeisi - guitars
Krzysiek Palczewski - keyboards
Jarek Michalski - bass
Wojtek Szadkowski - drums

Discography:
A Street Between Sunrise And Sunset (2003)
Evening Games (2004)
Into The Night (2007)
Nostalgia (2009)

Evening Dreams (DVD) (2005)

Genre: Progressive Rock

Origin PL

Added: August 24th 2010
Reviewer: Stephanie Sollow
Score:
Artist website: www.myspace.com/satellitepoland
Hits: 3417
Language: english

  

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