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(39:24; Emet Records)
Walfad were back with their fourth studio album towards the end of 2018, and between this and their previous one, singer/guitarist Wojciech Ciuraj had found time to release a solo album which wasinspired by the Polish romantic poetry of Adam Mickiewicz. None of the musicians involved in the solo effort had been in Walfad, and on the subsequent band album only bassist Radostaw Zelazny previously been involved (and then only on ĎMomentumí) so it really is a brand new band with Wojciech driving it on. Unfortunately their web site hasnít been updated in a few years, so I actually have no idea what has been happening within the band, but it is certainly unusual to see such a change in just two years. The band has also reverted back to a quintet, which is what they were like for the debut, bringing back an additional guitarist. This album does feel very much like a logical progression from the last one, even though most of the band have changed, with twin guitars providing additional depth and bass to the sound. There isnít as much space within the music as one has come to expect, but it still feels fresh and inviting. The use of a Hammond Organ is also a nice touch, as it adds to depth and presence, powering over the top of piano or other keyboard sounds. Even though there is a larger rock element, the different approach to keyboards has meant the band now appear even more melodic and much more crossover than previously. The vocals are sweetly sung (apparently the album has again been released in two versions, one English and one Polish), and the album is beautifully produced and engineered. Walfad have yet to make much of an impact outside their home country, but having now heard all four of their studio albums I am at a loss to understand why that is, as this is again an incredibly accessible and enjoyable piece of work.
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