White Molya is a mysterious bandname and from Poland and they have recently released the album Molya In Novum (Molya In New)
The debut album Adventures Of Mandorius are two people from Pabianice, formerly associated with the Korozja formation, Konrad Szustakiewicz and Michał Szmidt, also a former musician of Korosia but also of the Łódź group Tale Of Diffusion.
Especially the latter name should be familiar to many readers if they listen to the debut concept album Adventures Of Mandorius (The Bird). Interestingly, this album featured not only the aforementioned Szmidt, but also guest keyboardist Paweł Marciniak, known from Varius Manx, and Szymon Żmudziński, who played the trumpet. And these musicians, apart from Zuzanna Błaszczyk (vocals) and Przemek Kuczyński (drums), also support this project.
This is not debutants, but experienced musicians who have been playing for years. In addition, Molya in Novum somewhere refers to the style and atmosphere of the music of Tale Of Diffusion. It is a little over fifty minutes of instrumental music (Zuzanna Błaszczyk’s vocals appear here and there) included in eleven compositions. Usually, 4-5 minutes long, which is important, however, multi-threaded, diverse, characterized by changing pace and moods.
This short description is enough to notice that we are dealing with broadly understood progressive rock. However, one with a slightly jazzy or even fusion color. The Kontaktor opening the album had keyboard timbres that immediately recalled our native Lebowski in my head. And when I heard the trumpet in the second composition, Molya quickly smelled their piece Goodbye My Joy, in which they collaborated with the respected German jazz trumpeter Markus Stockhausen. However, this music is not heading towards Lebowski! There are only details of it.
Because Molya brings still processed female vocals, dense and intense drum figures and finally guitar, slightly rough riffs, above which the crimson spirit of Robert Fripp hovers. And believe me, this is not an isolated incident. Because we will also hear such elements in subsequent recordings. Vibipilak and Gliskorton are more experimental in nature, although the first of them at some point brings some dreamlike calming down.
Thanks to the solo trumpet parts in the music , there is a lot of jazz, but we also have vintage keyboard figures (including in Lintraliak) and even sounds evoking string forms (although there are no real strings here). The musicians are looking for tonal, arrangement flavors. In promoting the album Mezonia, the keyboard solo for a moment evidently resembles theremin, adding a psychedelic twist. And the composition itself (it is a pity that the attractive theme that appears at its end, ends with the piece so quickly), like several others, can be a nice base for concert improvisations.
This is, of course, music not on the radio charts, more for rock intellectuals who do not look for simple solutions. Although more carrying, melodic themes and less repetition in the following numbers, it would make it fresher. But it is still a successful debut, additionally dressed in an intriguing graphic design (paintings by Michał Szmidt) and equally unusual titles, sometimes referenced in various languages. A good album that deserves attention.
Michał Szmidt – guitar
Konrad Szustakiewicz – bass
Paweł Marciniak – keyboards
Szymon Żmudziński – trumpet
Przemysław Kuczyński – drums
Zuzanna Błaszczyk – vocal
Recording, Mastering: Paweł Marciniak
Mix: Michał Chojnacki, Michał Szmidt, Paweł Marciniak