Tag Archives: Lunatic Soul

Lunatic Soul VI: Under the Fragmented Sky

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Under the Fragmented Sky 

  • Released: May 25, 2018 
  • Colour: Violet–it is also the only album without the “ls” logo in any form. 
  • My ranking: 5

Generally when an album is made, not everything written will make it onto the finished product. This was true for Fractured: some of the music Duda created did not fit that album’s theme and mood. However, there were some very powerful pieces that were left over, songs that begged for release, and so he decided to complete them and make a kind of “companion album” to Fractured. The result was Under the Fragmented Sky, and the two albums could not be more starkly different. UtFS is bright, forward-looking, almost upbeat–there is still an undercurrent of anxiety but you can feel the struggle to overcome it. It is also very strongly electronic–in some ways it is a precursor to the electronica project that became Duda’s fourth “musical world” in 2020. 

It is mostly instrumental, sparse and powerfully melodic; lyrically it is closer to the Lunatic Soul story than anything on Fractured. Interestingly it seems to be in two parts: the first half is open and more acoustic, the second becomes darker, more electronic-driven, yet somehow it all hangs together. It is difficult to believe that the songs came out of the same sessions that produced Fractured. The album ends with the brilliant “Untamed”–the “wind-up” song is not perhaps Duda’s strongest skill, but “Untamed” is one of his best and a just plain great track. It doesn’t hurt that it is anchored by Dramowicz’s spectacular drumming, the only song on the album on which he appears. 

It was at this time, just before UtFS was released, that Mariusz revealed something else: The Circle of Life and Death, a graphic that illustrated the relationships that each of the Lunatic Soul albums was to have with each other. He had first thought of the idea with WoaFB; when it became clear that the project was going to continue he needed to plan out the rest of the releases. Since the overall theme was life, choices, and rebirth into a new reality, the albums would follow a cycle, ever repeating. The Side of Death was where the original project began, with LS I, II, and Impressions (as a side branch); the Side of Life held WoaFB, Fractured, and UtFS as a supplement. The music also had different characteristics for each side of the Cycle.  

Upside: Bright, electronic and quite experimental at times, and yet much closer in feel to Lunatic Soul than Fractured is. Brief, laser-beam focused and miraculously cohesive, the album has the “flow” (even Duda admits this to be true) that Fractured did not quite achieve. 

Downside: it is difficult to place this in the Lunatic Soul narrative sequence, since the lyrics are not like those on Fractured. So far it is a “supplement” in the way Impressions is, but it is not equivalent to Impressions: you can’t just ignore the words. 

Lunatic Soul V: Fractured

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If you have not read the other entries in this series, you can use the links at the bottom of this post. The Introduction to the whole set is here.

Fractured 

  • Released:  Oct. 6, 2017 
  • Colour: Dark red
  • My ranking: 7

If WoaFB arose from a depression rooted in personal events and difficulties, Fractured was the result of tragedy on an entirely different scale. The ‘ls’ logo on the cover is so deliberately splintered to be almost unrecognisable. 

This was–and probably remains–the most deeply autobiographical of all of Mariusz Duda’s work. It was the spring of 2016, and he was almost destroyed by the sudden death of Piotr Grudziński, Riverside’s guitarist and his closest friend, followed three months later by the sudden death of his father. One of the ways he kept his sanity in the dark months that followed was to work–and for Duda, “work” was creating music. Fractured is an album of words, a story of the struggle to regain the light. There is only one short instrumental track; all the rest of the songs give a disconcertingly intimate look at a man determined to get himself back on track and shake off–with variable success–the overwhelming grief and pain of profound loss. At first he considered releasing it under his own name, MD, but ultimately chose to situate it as a Lunatic Soul album, a prequel to Walking on a Flashlight Beam. 

Musically the album also departs: the lush atmospheric washes of the previous albums are almost entirely absent, replaced by a sound that is stark, open, ragged, with lots of acoustic guitar, sparse electronic accents, and even an orchestra. Most importantly though, we are introduced to something brand new: the sound of the piccolo bass. This is not a modified bass but a bespoke instrument, created by Mariusz’s Polish luthier especially for him, and it has proved to be a game-changer. It allows him to play in his beloved higher registers and create heavy, buzzy sounds somewhere between bass and guitar without violating his promise to never use electric guitar in the project. This instrument has taken on a significant role in the sound of both Lunatic Soul and Riverside, and it may well be unique in prog. 

Upside: Fractured introduced many Riverside fans to Lunatic Soul, and it is among the most popular of the LS releases. It is a beautifully conceived, deeply emotional album and I can fully understand how so many fans engage with it, both musically and especially lyrically. One of my favourite songs across Mariusz Duda’s entire output is “Anymore”, a heartbreakingly intimate glimpse into a family relationship. 

Downside: However…I must admit that this is not my favourite Lunatic Soul album, and that is because it does not feel like a Lunatic Soul album to me. The Hero and the author have become inextricably intertwined with each other: it is so clearly about Duda himself that the connection to the original protagonist is lost. It is an album that works in isolation, but not so much as part of the project. 

Lunatic Soul IV: Walking on a Flashlight Beam

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Walking on a Flashlight Beam 

  • Released: Oct. 13, 2014
  • Colour: Deep blue
  • My ranking: 2

Four years after the Hero was apparently abandoned, fate unresolved, Mariusz Duda took up his story again. On the fourth Lunatic Soul album we would learn something of the protagonist’s past: how and why did he come to die? In other words, Walking on a Flashlight Beam became the prequel to Lunatic Soul I, recounting a tale of self-imposed isolation, loneliness, and longing, picking up the clues left in the song “Transition” from Lunatic Soul II and turning them into an album unmatched in the entire Lunatic Soul discography. 

It was an album that came out of a very difficult time in Duda’s life both personally and creatively, and this is reflected in a shift in the narrative style. The lyrics turn inward, examining the psychological state of the protagonist–we see the Hero’s deepest fears and yearnings, and begin to understand the reasons for his actions. The personal darkness that Mariusz Duda was experiencing form the foundation of the words he would write. 

Walking on a Flashlight Beam is the first album on which electronic elements make their appearance, and the sound of the album is sparser, stark and less ambient, evoking emotions of loneliness and anxiety, terror, and finally calm, as the Hero makes his way through the songs. The words are heartbreaking; the instrumental pieces redolent with disquiet. The only guest is drummer Wawrzyniec Dramowicz.

WoaFB is clearly Duda at the top of his game; many fans consider it to be the best Lunatic Soul of all, and I agree with them. The structure of the album exemplifies what Duda calls ‘flow’: the trajectory of the songs, the music, the arrangements all work seamlessly together as we accompany the Hero on his terrifying psychological journey. WoaFB is Inspiration at its finest; however, the emotional and psychological cost of making the album may well have been too much for him to ever contemplate repeating. The words of the remarkable “Gutter” are autobiographical: for a while Mariusz truly feared that in order to accomplish something great, he must excoriate his soul and live in psychological darkness.

Upside: see above. It’s a tour de force.

Downside: <shrugs>

Lunatic Soul III: Impressions

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The introduction is here. The arrows at the bottom will move you from post to post: brief bios of Lunatic Soul I and Lunatic Soul II are already published.

Impressions   

  • Released:  Oct. 17, 2011
  • Colour: Grey
  • My ranking: 1

This album wasn’t supposed to exist. Duda had written the songs but he had done so with a much different plan in mind: he wanted to rerelease Lunatic Soul I and II as a set, and include these new songs as bonus tracks. However, the label (Kscope) stepped in and insisted that the songs were too strong and needed to be released as a separate album, otherwise they were likely to be overlooked.

Impressions is an album of 8 instrumental tracks that riff off of and extend musical ideas found in the first two albums: roughly, “Impression I” to “IV” are taken from LS I, and “V” to “VIII” from LS II. However, they are not revisions or alternate versions of any of the songs from the original albums, but entirely different pieces. It is not obvious which impressions are inspired by which original songs, and this gives the album a unique identity. Being completely instrumental, its power must rely on atmosphere and mood, and it is a masterwork in this regard, drawing on a skill set Mariusz Duda does not get to show off frequently in Riverside or even Lunatic Soul. His considerable chops in this area are probably underappreciated. There is no story to tell, so it acts as a musical supplement to the project. 

Upside: Kscope made the right call. This is a phenomenal album, captivating and immersive; even though Duda initially resisted the label’s suggestion, he concedes that, yes, this album works, far better than anyone expected. 

Downside: Are there any? Some people might not like that it is instrumental, I suppose. It is my favourite LS album despite the fact he doesn’t sing on it–and keep in mind one of the reasons I was so struck by LS and Riverside was the quality of Duda’s voice. 

Lunatic Soul II: The White Album

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I’m posting up teasers and sketches of each of the Lunatic Soul albums, in anticipation of the new album out this year, and as previews for my upcoming biography of Mariusz Duda. You will find much more discussion when that is published. 🙂  If you have not read the introduction, please do that first.

The Introduction is here.  The sketch of LS I is here.  The arrows at the bottom of each post will let you move from post to post.

Lunatic Soul II 

  • Released: Oct. 25, 2010 
  • Colour: White
  • My ranking: 6

The second part of the Hero’s story was released two years after the first album, with Lunatic Soul II. The cover was white, the vinyl was white, and the sound was somewhat different from the first album: brighter, sharper, more jagged–although it still retained its trance-oriental feel. The contrast was deliberate because the story of the Hero had changed. He had made his decision (to keep his memories) and had moved into a terrifying place of illusion and hallucination, where he began to question his choices: not only did he keep his good memories, but all the unpleasant ones as well, including how and why he died.

Musically, there is once again a mix of songs and instrumental pieces but it feels as if there is less variety. There is ambience, there is a ballad, and there remains the eclectic mix of instruments, but the overall mood of the album is one of anxious disconnection and foreboding, even in the last track “Wanderings”, which sounds bright and optimistic until one reads the lyrics. 

Unlike with the first album, Mariusz did not go into the studio prepared with ideas and songs (beyond the overall theme of course)–he had to compose and record while he was there. Perhaps this is why the album does not seem to quite live up to the debut: less variety overall, less “flow”, somewhat less satisfying. Only Maciej Szelenbaum and Wawrzyniec Dramowicz remain as guests. 

Upside: well, it is Lunatic Soul, and it has a couple of strong, ambient and atmospheric tracks, as well as one solid heavy stomper (“Escape from ParadIce”). 

Downside: see above–lack of variety in the song styles, especially obvious compared to the first album, and it feels less cohesive. Finally, there is a lack of real resolution for the Hero, who is simply left to wander eternally in limbo. Remember: at the time, this was the last album of the project. We were not supposed to learn any more about our unfortunate protagonist. 

Lunatic Soul I: The Black Album

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Below is a sketch of the first Lunatic Soul album in the project. If you haven’t read the introduction (which gives a brief explanation of why the project itself exists), you can read it here. Feel free to comment!

Lunatic Soul I 

  • Released: Oct. 16, 2008 
  • Colour: Black  
  • My ranking: 3

Lunatic Soul I is an album jammed to overflowing with ideas, which is not surprising since they had been accumulating for years. Mariusz Duda had been collaborating with musician and friend Maciej Szelenbaum since before he joined Riverside and they had recorded a lot of material together. Some of these songs, as well as other pieces written after Riverside was established, had not been suitable for the band (in fact, there are several tracks on the Reality Dream albums that perhaps would not have been there had Lunatic Soul existed earlier). There were songs that Duda loved and was very eager to release, and a separate project was the only way he was going to be able to do it. 

Continue reading Lunatic Soul I: The Black Album →

Lunatic Soul: Searching for the Light

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This long overdue summary is something I’ve been trying to accomplish for a couple of years now but somehow I couldn’t get the feel of it right. The format I used for the Riverside reviews didn’t really work for Lunatic Soul. So I’ll try it this way: I’ve written a brief biographical sketch of each album in order of release date, and included what I think makes it work, what doesn’t work, and how I rank it. I will post up these sketches over the next week or so. Once I set up my Substack they will appear there as well. 

The rankings: this is not a matter of liking/disliking anything. I love all the albums but to somewhat different degrees, and for different reasons, which I have tried to explain. I expect I am in the minority for some of these, so if you agree or disagree, let me know! 

First though–a (very) brief introduction to the project. A complete and detailed history of Lunatic Soul will be found in my upcoming biography of Mariusz Duda. 

Continue reading Lunatic Soul: Searching for the Light →

Review: Lunatic Soul Walking on a Flashlight Beam at Ten

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Walking on a Flashlight Beam turns ten years old on October 13, 2024. This album has a special place in my heart, and I want to explain why. It was the first Lunatic Soul album that was released after I became a fan, but that is certainly not the only reason or even the main one. Of course, what I’m about to say are my personal observations, and you may disagree with me–but you’d be wrong. 🙂

I’m not going to talk about the songs, so if you want to read about those, I have a full review here.

When Walking on a Flashlight Beam came out in 2014, it was almost immediately recognized as something very special in the Mariusz Duda discography by many reviewers and fans. It was the fourth Lunatic Soul release, a solo project which originally was supposed to consist of only two albums (Impressions is an instrumental supplement), but at some point, happily for us, Duda decided to keep the project going.

It was an album that was made during a very dark time in Duda’s life. Personal and emotional issues weighed on him; and when he first went into the studio, things didn’t go well. In order to recapture inspiration, he had to re-adjust his thinking and change the ideas, the approach, sounds and mood. Originally there were to be guest musicians, but he abandoned that idea: only Wawrzyniec Dramowicz remained on drums. There would be much less of the lush orientalism of the first three albums, and much more in the way of electronics. Shifting creative gears worked because this masterpiece came out of it. And it is a masterpiece.

There have been three subsequent Lunatic Soul albums in the decade since, so how does Walking on a Flashlight Beam hold up?

WoaFB is one of those albums in my collection that is of such importance that I cannot play it very often. I feel that when I do play it, I must give it my full attention, to honour it with nothing less than my entire listening presence. I own a few other albums like that, but not many.

For me, it is the most inspired, the most cohesive, the most nuanced, and indeed most intellectual of the entire Lunatic Soul project, and perhaps of Duda’s entire output.* After ten years it has lost none of its power; in fact it has gained stature as the other LS albums have been released. WoaFB reached a pinnacle in terms of flow, vision, and thematic integrity that the other albums did not quite achieve. In the wider context, it pulls the first albums (LS I, LS II, and Impressions) together, and provides an anchor point for the whole project. It is an album that is much greater than the sum of its parts.

There are LS albums that I play more often, that I consider “favourites”: the astonishing Lunatic Soul I; Impressions; and the joyous Through Shaded Woods; but I will state outright that by any objective measures, Walking on a Flashlight Beam is the best. It is a true showcase of Mariusz Duda’s creative powers, an album where all the elements–the music, the lyrics, the mood and atmosphere–came together in a perfect storm of inspiration.

*with the possible exception of “Transition II”, to which I have much the same response as WoaFB but this of course is not an album, and is a bit of an outlier in the LS canon.

There will be much more about this album in my upcoming book.

 

 

 

Exciting News!! Something Big!!

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Do I have your attention? 😃

What’s Going On?

The past few months have been very slow on my blog–not, probably, that anyone has noticed, but still…I’ve let it slide. I have not been talking much about new music, because I haven’t been listening much to new music, and there is a reason for that: something else has taken precedence.

 Here’s a bit of context:

A few years ago (well, more than a few, but let’s not talk about how quickly time is passing…), I started a series of posts in which I ranked and reviewed all of Riverside’s studio albums and EPs. I meant to do the same thing for Lunatic Soul but somehow it didn’t happen: this project is of such profound importance to me that I struggle to express how I feel about it. I have written reviews for all the LS albums from Walking On a Flashlight Beam to Through Shaded Woods, but I always felt at a loss when I tried to explain the whole project’s impact.

Then something entirely unexpected happened. I mean, completely out of the blue, I never saw it coming, never in a thousand years would it have occurred to me, all of that.

One day I responded to a text message, and in the middle of the conversation, the sender suddenly said: “You know what I think? One day you should write a book. About Riv/LS, maybe MD stuff. I can help you.”

Continue reading Exciting News!! Something Big!! →

Album Review: Music Inspired by Slavs

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Released April 21, 2023

 Personnel:

  • Kris Wawrzak: basses, sampling, programming, vocals
  • Artur Szolc: drums and percussion
  • Robert Szrednicki: guitars, keyboards, synths, various instruments

 Guests:

Krzysztof Drabikowski; Inga Habiba; Lunatic Soul

Sebastian Aleksandrowicz; Anna Drabikowska; Michał Górczyński; Mariusz Kumala; Dyba Lach; Mariusz Mielczarek; Nadhir; Maria Oldak; Tomasz Popkrzywiński; Kamil Popławski; Mariusz Rodziewicz; Igor Szeligowski; Krzysztof Szmytke.

 Track List:

  1. Furta                                                         9. Chors
  2. Świętowit                                               10. Zachód
  3. Wschód                                                   11. Kupałą              
  4. Swaróg                                                    12. Południe
  5. Mokosz                                                    13. Łada              
  6. Północ                                                     14. Weles
  7. Perun                                                       15. Rozstaje
  8. Trzygław                                                 16. Rod

Music Inspired by Slavs is the fourth offering from the Music Inspired By… trio, who have intermittently been releasing largely instrumental thematic albums since about 1999. The last one, 2016’s Music Inspired by Alchemy, is reviewed here.

As the title suggests, the core inspiration for this album are the various deities of the Slavic pantheon. It is meant to be a musical imagining of a distant Slavic past, before conquest, science, and the imposition of a foreign religion, and the release is accompanied by lavish and detailed notes and artwork. There are eleven tracks related to the gods, organized somewhat geographically, interspersed with short, directional interludes to guide us. And so we pass through “Furta” (The Gate) into this lost world.   Continue reading Album Review: Music Inspired by Slavs →