2002 (Musea Records)
The Polish prog band Quidam immortalized themselves in 1996 with their self-titled debut album, which certainly cannot be described as anything less than bombastic. Every neo-prog fan adores it, especially since vocalist Emila Derkowska delivers such a pleasant listening experience. Two years later, “Sny Aniolow” is released and its prog-pop nature weighs heavily on everyone. While there are a few nice passages to be found, most of the album’s material can simply be described as uninspired. The contrast with their debut is significant and the anticipation for the next album is already testing nerves. It took four years for “The Time Beneath The Sky” to see the light of day in 2002, initially with Polish titles, but shortly after, Musea released the album worldwide with English titles. The relief was immense – finally, a good album again. ”The Time Beneath The Sky” features a beautiful blend of progressive rock, world music, folk, ambient, jazz, electronic and pop. It stands on its own and cannot really be compared to their debut. For me, it captivates even more, as there is so much to experience.
Quidam possesses an identity that surpasses the style in which they play. Besides Derkowska’s enchanting vocals, it’s the flute parts, almost constantly present in the sound, played by Jarcek Zasada and the lyrical guitar performances by Maciel Meller that accomplish this. Unfortunately, this legendary trio has come to an end, as Derkowska left the band just a few months after the release of “The Time Beneath The Sky” to pursue a career as a gospel singer. To make matters worse, bassist Radek Scholl and drummer Rafal Jermakow also departed not long after. Although Quidam has found stability with a new lineup, the melancholic layer over “The Time Beneath The Sky” is undeniable.
During the research I always do before writing a review, I discovered that the band, which disbanded in 2014, was revived in 2021 with Emila Derkowska back on vocals and the original flutist, Ewa Smarzynska. This is good news in itself, but it gets even better – the three albums from the Derkowska era will all be reissued as Anniversary Editions, making them available again in 2022 after a long time. For now, I have written a review of the original album, but I will add an update later.
Now let’s move on to the ten songs on the album and the feelings they evoke. Right from the start, you are captivated by Derkowska’s impressive vocalizations and the intriguing flute. Zasada has a powerful staccato playing style that makes you almost see the air flowing through his instrument. Just looking at the song title, Letter From The Desert, says enough. It embodies the desolation of the desert, mysterious atmospheres in an Eastern setting filled with ambient sounds, delightful guitar riffs and a serene oboe. In the second part of the song, Still Waiting, a jazzy atmosphere prevails, beautifully sung. Once again, Derkowska demonstrates that Polish is a perfect language for singing, as Slavic languages always seem to be in my eyes. A beautiful flugelhorn solo brings warmth to this keyboard-dominated track and then comes No Quarter. Quidam presents a stunning interpretation of Led Zeppelin’s original, complete with sizzling flute, captivating vocals and a gem of a guitar solo. Covers often have a bad reputation, but this one is too beautiful to be considered anything less. Quidam closes the first part of the album with the lightweight New Name and the folky Kozolec, only to unleash their full range of talents in a magnificent five-part suite.
The suite doesn’t really sound like an epic, but rather a sequence of songs. Perhaps there is a textual connection, but I would need some lessons to say something sensible about that. However, I have a strong suspicion since the main title refers to the time here on Earth. Could it be about various existential questions? Luckily, I have a better understanding of music and I couldn’t miss the amazing guitar solo towards Sylvan in Credo I. The instrumental second part also knocks on the door quite insistently, as the guitar and bass guitar riff is so infectious that the hearts of many Porcupine Tree fans will start hopping spontaneously. With You Are (In The Labyrinth Of Thoughts), the band takes a moment to relax. Accompanied by the sounds of an acoustic guitar, a nice pop song unfolds, preparing you for the splendid Quimpromptu. Meller showcases a fantastic guitar melody here. It feels like entering heaven. This closing melody comes across as a finale and that’s how it seems to be intended. The true closer, (Everything Has Its Own) Time Beneath The Sky, has the allure of an epilogue. It’s beautiful, even though all the fireworks have already been set off.
“The Time Beneath The Sky” frequently finds its place in my CD player. I always feel like listening to it and I can’t recall a time when that wasn’t the case. The neo-proggy music is a successful combination of taste and skill. It might be too light for some, but for me, the music is perfectly engaging.
© Dick van der Heijde 2023