Screaming Earth

Dear@everyone.
The promotional campaign for the album From Manure to the Stars is coming to an end. Summaries will be available soon. One of the latest reviews comes from a British-Dutch-German website. It is the best summary of our work. It mentions the concise message, form, good lyrics, and captivating music without virtuoso displays. Read it here:

https://www.dprp.net/reviews/2025/052 -earth

Kampania promocyjna płyty From Manure to the Stars zmierza ku końcowi. Wkrótce podsumowania. Jedna z ostatnich recenzji pochodzi z portalu Brytyjsko-Holendersko-Niemieckiego. Jest najlepszym podsumowaniem naszej działalności. Mowa tu o zwartym przekazie, formie, dobrych tekstach i wciągającej muzyce bez wirtuozerskich popisów, Czytajcie :
https://www.dprp.net/reviews/2025/052 -earth

In recent years the Polish prog / art‑rock / alternative scene has become more visible and respected. Bands like Coma, Riverside, Lunatic Soul, Behemoth (though heavier, from a somewhat different tradition), have helped open doors for experimental / progressive music from Poland. There's also a general trend in Eastern Europe where younger bands are combining local sensibilities with modern production, cross‑genre influences and more conceptual ambitions. Screaming Earth fits into that wave, though they are more on the art‑rock / progressive than metal side.

There's something immediately compelling about an album with a title like From Manure To The Stars. It's poetic, ironic, even a little cheeky — and that sums up Screaming Earth's debut rather well. The band consists of only two players: Rafał Redosz, whose talents include dexterous use of electric guitar, acoustic guitar, slide guitar, keyboards, synthesizers, bass and drums, while Andrzej Ende Podscianski provides lead vocals and choral / backing vocals.

This is music made with seriousness and ambition, but it doesn't take itself too seriously. It embraces the cosmic and the mundane, the philosophical and the gritty, with a sound that's immersive, cinematic, and quietly confrontational. At its core, this is progressive art rock, layered, thoughtful and with enough instrumental exploration to keep a listener returning. There's a blend of influences that feels familiar, including classic prog, psychedelic rock, atmospheric post-rock with maybe a little space rock thrown in for good measure. Each track feels like a journey, but none of them meander needlessly — which is impressive, given that several are longer and structurally unconventional.

A recurring structural pattern is definitely present throughout the album, but it doesn't get bogged down with dull repetition. Many of the songs begin with a slow or ambient intro, often led by keyboard pads, acoustic guitar, or subtle bass textures. A gradual build-up follows, layering vocals or clean electric guitars with drums creeping in at just the right moment. A climactic middle section with distortion, more aggressive percussion and quite often, a shift in vocal intensity, helps drive the songs. Finally, a reflective outro or a twist — returning to a softer motif, or flipping into an unexpected mood, concludes each piece.

This pattern gives the album a sense of cohesion, almost like movements in a single large composition. Yet each track manages to distinguish itself with new melodic ideas, unexpected chord shifts, or shifts in instrumentation — so no two songs feel like copies. It's like walking through a forest where the path is familiar, but the scenery is always changing.

Electric and acoustic guitars play a big role: clean, delay-heavy riffs and arpeggios give the songs a dreamy or reflective quality, while heavier, fuzzier tones cut through in the climactic sections. Occasionally, slide guitar or folk-inspired plucking adds texture. Keyboards and synthesizers are used more for atmosphere than flashy solos. Pads, subtle organ drones and swelling synths create an almost cinematic backdrop. The bass is warm and often melodic, playing counterpoint to the guitars rather than just following root notes. Drums are tight but not overly polished but display a dynamic, organic feel with tasteful use of toms and cymbals. There's nothing showy from the stick meister, but he's always contributing to the rising/falling energy.

Vocals are expressive, with a clear emotional range. Sometimes intimate and fragile, other times more theatrical or soaring. They lean more toward art rock than classic rock in tone, with less gravel but a more narrative delivery. Backing vocals (or layered harmonies) are used effectively in several tracks to create a choral or collective feel, without overwhelming the mix.

Lyrically, the album reflects its title: it's about dualities — earth and space, struggle and transcendence, the personal and the political. Without being preachy, it touches on human conflict (possibly war or systemic oppression), media and manipulation, environmental decay, dreams vs reality and the search for meaning in a chaotic world.

It's conceptually ambitious but grounded. Some songs are clearly metaphorical; others have lines that sound almost like journal entries or philosophical musings. What's refreshing is that the album doesn't pretend to have all the answers — it asks, it observes, it ponders.

This album is for listeners who enjoy some challenging progressive and atmospheric rock — think early Porcupine Tree, post-Waters Floyd, or the more song-oriented side of bands like Anathema or Gazpacho. Harmonies are a little thin on the ground, but that is not the immersive side of this band's music.

If you prefer albums that unfold over multiple listens, rather than instantly catchy singles or appreciate dynamic storytelling, both musically and lyrically, then this album might just fill that void in your collection. This is music that's both melancholic and hopeful — it doesn't wallow in despair, but it doesn't sugarcoat things either.

It might not land with fans who need tight 3-minute structures, or who want more aggression or pop accessibility. But for those open to taking the long way around, the rewards are considerable. From Manure To The Stars is a surprisingly mature and cohesive debut. It's an album with a clear emotional arc, solid musicianship, and a distinctive voice. While the songs often follow a similar emotional shape, there's enough musical diversity to keep things engaging. And more importantly, there's real heart here — not just clever arrangements or studio polish.

The album concludes feeling like a conversation you've just begun, rather than one that's over. There's space left for more — more evolution, higher risk, maybe more surprise. But as the first full statement, it's thoughtful, well-crafted, and quietly powerful.

https://www.dprp.net/reviews/2025/052 -earth

SCREAMING EARTH – CD ALBUM 2025 – EFEKTY GITAROWE

W ostatnim odcinku cyklu poświęconego powstaniu naszej płyty poruszamy wątek związany z efektami gitarowymi. Tak więc... wioślarze na start !
Zwykle po nagraniu ścieżek gitarowych pora na ich ubarwienie brzmieniowe. Osobiście uważam, że cały ten proces powinien przypominać dosalanie potrawy, żeby osiągnęła swój wykwintny smak. Ale uwaga ! Można przesolić i całość wyląduje za oknem :) Podobnie jest z efektami gitarowymi. Podstawą jest równe nagranie traków, bez pomyłek rytmicznych i tonacyjnych. Efekt gitarowy ma w swojej naturze to , że może on ubarwić frazę ale gdy jest zagrana źle uwypuklić jej błędy i to wielokrotnie (delay). Nie jestem tez zwolennikiem stosowania jednocześnie więcej niż trzech efektów.
Podstawą jest dobra ekualizacja. Osobiście preferuję podbicie tonów niskich z lekkim naciskiem na wysokie - Equqlizer BOSS. Potem kolej na kompresję z sustainem - Sustainer CS-3 lub bardziej klasyczny MXR Dyna Comp.
Takie bazowe brzmienie wymaga czasem nałożenia przesterowania. Tutaj z pomocą przychodzi " gruboziarnisty " floydowy Big M**f USA, lub delikatniejsza replika Peta Cornisha - OCD. Stosuję także - choć rzadziej - Boss Distortion DS-1 i stary gilmourowski Boss Heavy Metal HM-2 z lat osiemdziesiątych z lekkim zabarwieniem wewnętrznego flangera.
Jeśli chodzi o efekty modulujące, podstawą jest replika włoskiego Binson Echorec w wersji cyfrowej produkcji USA. Tam znajdujemy cyfrowy delay zarówno w tempach 4/4 jak i 3/4 i inne nieparzyste w zależności od ustawienia. Dodatkowym atutem jest tam obecność długich ech z opóźnieniami. Uni Vibe - czyli replika w wersji elektronicznej efektu wirujących głośników Leslie dodaje charakterystycznego pływania frazy gitarowej. Efekty chóralne - chorusy - pochodzą ze starego 30-letniego multiefektu Boss ME-6, podobnie jak flanger.
Efekt tremolo to Behinger Tremolo używany rzadko, a Whammy 4 to skarbnica harmonizerów i płynnych glissand o oktawę lub dwie w górę i w dół.
Ostatnią rzeczą jest Wah-Wah USA połączony z pedałem Volume - jednak używany na płycie dość sporadycznie.

In the last episode of the series devoted to the creation of our album, we discuss guitar effects. So... rowers, get ready!
Usually, after recording the guitar tracks, it's time to colour their sound. Personally, I think that the whole process should be like adding salt to soup to achieve its exquisite taste. But be careful! You can oversalt it and the whole thing will end up out the window :) The same goes for guitar effects. The basis is to record the tracks evenly, without rhythmic or tonal mistakes. The nature of a guitar effect is that it can colour a phrase, but when played badly, it will emphasise its mistakes, and repeatedly (delay). I am also not a fan of using more than three effects at the same time.
The basis is good equalisation. Personally, I prefer to boost the low tones with a slight emphasis on the high ones - BOSS Equaliser. Then it's time for compression with sustain - Sustainer CS-3 or the more classic MXR Dyna Comp.
Such a basic sound sometimes requires the addition of overdrive. This is where the ‘coarse’ Floyd-style Big M**f USA or the more delicate Pet Cornish replica - OCD - come in handy. I also use, albeit less frequently, the Boss Distortion DS-1 and the old Gilmour-style Boss Heavy Metal HM-2 from the 1980s with a slight internal flanger colouration.
When it comes to modulation effects, the basis is a replica of the Italian Binson Echorec in a digital version manufactured in the USA. There we find digital delay in both 4/4 and 3/4 time signatures and other odd time signatures depending on the setting. An additional advantage is the presence of long echoes with delays. Uni Vibe - an electronic replica of the Leslie rotating speaker effect adds a characteristic floating quality to guitar phrases. Chorus effects come from a 30-year-old Boss ME-6 multi-effect unit, as does the flanger.
The tremolo effect is a Behinger Tremolo, used rarely, and the Whammy 4 is a treasure trove of harmonisers and smooth glissandos an octave or two up and down.
The last thing is the Wah-Wah USA combined with a Volume pedal - but used quite sporadically on the album.

We invite you to read the latest review of our album. This time it comes from the French website Profilprog.com.

https://www.profilprog.com/profil-reviews-2025/screaming-earth/from-manure-to-the-stars

SCREAMING EARTH – CD ALBUM 2025 – NAGRYWANIE
Obiecaliśmy kilka słów o nagrywaniu. Po całym mozolnym procesie komponowania, pisania poszczególnych ścieżek, słuchaniu ich czy do siebie pasują i stroją, bądź nie - jeśli takie było zamierzenie :), odtruwaniu głowy od ciągle chodzących fraz i dźwięków, przerwy by nie słuchać niczego i nikogo - dla zdrowia psychicznego, przychodzi moment na to by wreszcie się dokonało i powstało. Tak jak wspominałem każdy kawałek zaczyna się od prostej gitary akustycznej i taką też nagrywa się na samym początku jako tzw pilot. Na nim zawieszamy całą resztę. Najpierw rytmy, perkusjonalia, potem basy i gitary rytmiczne. Gdy jako tako się wszystko trzyma kupy, wyrzucam pilota niczym obrus spod talerzy leżących na stole. I jakie się wtedy pojawi pytanie ? Czy talerze zostaną nadal na swoim miejscu...czyli w naszym przypadku nuty. Jeśli nie, to słabo, utwór jest do chrzanu. Jeśli "siedzi" to jest OK i można dalej przejść do szczegółów. Dynamika ścieżek, wzajemne relacje, panorama, pogłosy, kompresja, efekty. Po tym wszystkim powinien pojawiać się stopniowo efekt finalny, ale uwaga, lepsze może być wrogiem dobrego. Trzeba wyłapać moment w którym utwór nie będzie już lepszy po wprowadzeniu kolejnych zabiegów. Jeśli tego nie zrobimy to nie cofniemy się już do punktu wyjścia. Tak to wygląda według mnie. Szkoły są pewnie różne, ale wszystkie zakładają jedno. Trzeba nagrać najlepiej jak się da, ale moim zdaniem pamiętać trzeba o tym, że studio nie zapewni utworowi emocji, przekazu i prawdy. O to trzeba zadbać zanim siądziemy do stołu nagraniowego.

We promised a few words about recording. After the whole arduous process of composing, writing individual tracks, listening to them to see if they fit and tune together, or not - if that was the intention :), detoxing your head from constantly recurring phrases and sounds, taking a break from listening to anything and anyone - for your mental health, the moment comes when it finally happens and is created. As I mentioned, each piece starts with a simple acoustic guitar, and that's what you record at the very beginning as a so-called pilot. We hang everything else on it. First the rhythms, percussion, then bass and rhythm guitars. When everything is more or less together, I throw out the pilot like a tablecloth from the plates on the table. And what question arises then? Will the plates stay in place... In our case, the notes. If not, it sounds weak, the song is rubbish. If it ‘fits’, it's OK and you can move on to the details. Track dynamics, interrelationships, panorama, reverbs, compression, effects. After all this, the final effect should gradually appear, but beware, better can be the enemy of good. You have to catch the moment when the song will not get any better after further adjustments. If we don't do that, we won't be able to go back to the starting point. That's how I see it. There are probably different schools of thought, but they all assume one thing. You have to record as best you can, but in my opinion, you have to remember that the studio will not provide the song with emotion message and truth. You have to take care of that before you sit down at the recording table.

Cześć. Uzupełniamy wakacyjne zaległości informacyjne. Dziś dwie. Recenzja naszej płyty w niemieckim magazynie Empire i polskim portalu - i tu przepraszam z góry za nazwę - Mały Leksykon Wielkich Zespołów :)

https://www.empiremusic.de/
https://mlwz.pl/recenzje/plyty/28009-screaming-earth-from-manure-to-the-stars

Hi. We're filling in the holiday news backlog. Today two. A review of our album in the German magazine Empire and the Polish portal - and here I apologise in advance for the name - The Little Lexicon of Great Bands :)

At the end of our promotional campaign, a review appeared in ProgRockorg.pl magazine.

Debuts in Polish progressive rock are becoming increasingly rare, but that does not mean that there are none at all. One of them is the first album by Screaming Earth, released in March and mysteriously titled ‘From Manure To The Stars’.

The group consists of two musicians –
vocalist Andrzej Podściański and Rafał Redosz, who is responsible for everything else (music, lyrics, guitars, keyboards, bass,
drums). The band's music can be most simply described as
psychedelic rock, but not the kind that draws on the typical hippie style of the , but more in line with early Pink Floyd (ok, so also
the 1960s, but a slightly different direction than, for example, Grateful Dead or 13th Floor Elevators) or The Legendary Pink Dots. So, a lot of space, long, piercing keyboard sounds and unusual
arrangements. In a nutshell.

The opening track, which is also the title track, is actually more or less in the style I just described. The vocals have been replaced here
with samples from... unfortunately, we don't know what, because it hasn't been described.
In ‘Duke's world’, all this is complemented by guitar riffs and In ‘Duke's world’, guitar riffs and the vocals of Andrzej Podściański are added to all this, whose voice colour may
evoke associations with Roger Waters, although I think that sometimes it sounds a little too delicate, lacking more power. In ‘Will be gone tomorrow’,
the guitar riffs are replaced by ‘spots’, a more blurred
sound (it's psychedelic, right?). The song builds up interestingly, but
it feels a bit over-talked, it could have been more lively and
diverse. In ‘Unmasked Dreams’ it is more dynamic, the cosmic
atmosphere is broken by heavily Floydian guitar solos and sampled voices
of unknown origin (like military or police messages?).
The guitar riff that is the leitmotif of ‘Ash and Diamonds’ is
intriguing, but it could have been given a little more power, as in
the solo, which definitely stands out and lifts the whole thing up.
This is proven by ‘Is this what we meant?’, in which the riff may be associated with the achievements of Atomic Rooster (in a modern version, of course). Here we also have great keyboard parts that enliven the composition, which builds up ominously,
like an approaching storm. ‘Suzane and Pete’ is dominated by
acoustic guitar sounds, which in its simplicity is a brilliant and
very refreshing move. Podściański's vocals in the background also
fit in nicely here. The album closes with ‘Obsessive Observation’ – a Floydian pulse (somewhat reminiscent of ‘On the Run’), bells and a general trance that is very pleasantly
captivating.

As you can probably guess from reading the above
review, my feelings about Screaming Earth's debut are rather
mixed, because I think ‘From Manure To The Stars’ is an
uneven album. Alongside some truly intriguing compositions, there are some that are a bit
overly talkative and not very expressive. At times, it lacks a bit more
intensity and variety. A big advantage is the atmosphere and the overall idea
Alongside some truly intriguing compositions, there are others that are somewhat overly verbose and lacking in expression. At times, there is a need for greater intensity and diversity. The atmosphere and overall sound concept are a big advantage
because hardly anyone plays like this anymore, but the ex*****on of the overall idea is not always consistent. However, I suggest giving them a chance, especially if you prefer older styles and are not necessarily into postrock or prog metal.

Gabriel Koleński

https://progrock.org.pl/rock-progresywny/eclectic-prog/item/13534-from-manure-to-the-stars

Ukoronowaniem naszych zabiegów promocyjnych jest recenzja w najpopularniejszym magazynie rockowym w Polsce "Teraz Rock"
W lipcowym wydaniu znajdziecie nas. Wkrótce kolejny odcinek opowieści zespołowych. Tym razem o nagrywaniu.
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The culmination of our promotional efforts is a review in Poland's most popular rock magazine "Teraz Rock"
In the July issue you will find us. Another episode of team stories coming soon.

No nareszcie! Pojawiła się recenzja z ramienia ArtRock PL Online www.artrock.pl To jeden z najważniejszych krajowych magazynów muzycznych. Zaciekawiła nas wnikliwa analiza płyty pod względem tekstowym :

https://artrock.pl/recenzje/55075/screaming_earth_from_manure_to_the_stars.html

Well, at last! A review has appeared on behalf of ArtRock PL Online This is one of the most important national music magazines. We were intrigued by the insightful textual analysis of :

Rating: 7 A more than good, deserving album.
25.06.2025
Mariusz Danielak (Reviewer)
Screaming Earth - From Manure to the Stars

Screaming Earth is in fact a duo of Rafał Redosz, responsible for the music, lyrics and instruments, and Andrzej Podściański, vocalist, and From Manure To The Stars is the gentlemen's debut album, released this year on the Lynx Music label in Kraków. The latter may already indicate the direction of the project's musical explorations, and the gentlemen themselves describe themselves in promotional materials as ‘a prog-rock duo from Poland’.

The music, however, will be discussed in a moment, as it seems that the lyrical layer and what the musicians want to convey with it is equally important on this album. The band's name itself says a lot, showing the contemporary condition of our planet, or rather the society that inhabits it. Through their lyrics, the artists ask questions, with the most important one at the forefront: where are we really heading? Freedom, manipulation, the role of the media, globalisation or wartime conflict are themes that perfectly fit the times in which we live. All this, however, is often shown through the prism of ordinary characters. Like the hero of Duke's world, who “has no need to think and can leave it to others”. Or the soldier who, in the anti-war Will Be Gone Tomorrow, returns from the war to his mother in a box, like a birthday present. It is also in Ash and Diamonds about Miles, living in Africa, with no choice, in a black and white world without colour, or about Suzane and Pete in the touching globalisation of Suzane and Pete.

This peculiar concept is matched by the intriguing cover art and the music, which reflects it extremely aptly. Disturbing, as if apocalyptic, sometimes futuristic, although rooted in the classics of the progressive genre. The sources of inspiration seem to run to the Floyd, the early, psychedelic ones. Because there is a lot of psychedelia, hypnotism and a certain tranceiness in the playing of this Warsaw band. The specific sound, with reverb on the vocal parts, with such natural rawness and space and expressive bass parts, go in the direction of searching for originality in this aspect. Interestingly, somewhere at times this music also reminds me of the Legendary Pink Dots.

Portal ProgRockorg.pl przypomina o promocji naszego albumu CD. Wkrótce recenzja.
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ProgRockorg.pl portal reminds us about the promotion of our CD album. Review coming soon.

Screaming Earth - New Art - Progressive Rock CD 2025 We are an art-rock duo from Poland. We recorded an album which is a concept album consisting of 9 compositions, including two instrumental ones. The subject ...

Zaczęły się odzywać o nas prog-rockowe i rockowe także polskie portale muzyczne. Poniżej jedna z moich ulubionych recenzji na nasz temat.
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Prog-rock and rock music portals in Poland have started to talk about us. Below is one of my favourite reviews about us.

https://www.rockarea.pl/recenzje/screaming-earth-2025-from-manure-to-the-stars/

Marek Toma pisze:

SCREAMING EARTH, to nowa pochodząca z Warszawy muzyczna formacja, a właściwie duet: Rafał Redosz (muzyka, teksty, gitara elektryczna i akustyczna, klawisze, bas perkusja) i Andrzej Ende Podściański (wokale). W marcu miała miejsce premiera ich debiutanckiej płyty „From manure to the stars”.

Album jest dziełem koncepcyjnym. Tematyka „From manure to the stars” krąży wokół niepokojów społecznych XXI wieku. To próba zastanowienia się nad przyczynami konfliktów zbrojnych, kolekcjonowaniem cudzych opinii. Teksty podejmują tematykę relacji międzyludzkich, wolności, skutkach globalizacji, roli mediów we współczesnym świecie…

Albumowa okładka wyraźnie nawiązuje do grafiki płyty „Brother Where You Bound” grupy Supertramp . Muzyka jednak niekoniecznie. Bez wątpienia obraca się w prog rockowym kręgu, ale bliżej jest jej do space rocka i psychodelii. Słychać wiec tutaj wyraźne wpływy Pink Floyd (zwłaszcza ich wczesnego okresu), albo takich formacji jak Gracious , czy Nektar. A szukając bardziej nam współczesnych analogii, wymieniłbym tutaj zwłaszcza The Legendary Pink Dots. Wokalizy Andrzeja Podsciańskiego świetnie wpisują się w taką muzyczna konwencję, kojarząc się bez wątpienia z manierą wokalną Edwarda Ka-Spela, lidera „Różowych kropek”, bądź ze śpiewem Syda Barretta. Nie tylko wpływy psychodelii są tutaj wyraźne, ale także inspiracje muzyką elektroniczną (Tangerine Dream, Klaus Schulze…). Wystarczy posłuchać pierwszej, instrumentalnej, tytułowej kompozycji „From manure to the stars”, bądź zamykającego płytę „Obsessive observation”. Jeżeli chodzi o całość, „From manure to the stars”, nie rzuca na kolana kaskadami gitarowych solówek, czy klawiszową finezją. Paradoksalnie atutem tej muzyki jest pewna prostota i bardziej ascetyczne podejście do dźwięków. „Gilmouryzmy” jednak w pewnym stopniu też są obecne, wystarczy posłuchać chociażby utworu „Unmasked dreams”. Na muzyczny klimat duży wpływ, podobnie zresztą jak w twórczości Pink Floyd, mają również nagromadzenie dodatkowych dźwięków (odgłosy wody, rozmów, komunikatów…)

SCREAMING EARTH to bez wątpienia jeden z bardziej intrygujących, tegorocznych debiutów, jeżeli chodzi o nasz rodzimy, ten mniej komercyjny rynek muzyczny.

THIS TIME THE NETHERLANDS WROTE ABOUT US !!
Hi
Background Magazine, famous for its reviews of prog-rock news, wrote an insightful review about our album. It is worth mentioning that the Dutch market is quite sensitive to this type of music.

https://www.backgroundmagazine.nl/CDreviews/ScreamingEarthFromManureToTheStars.html

TYM RAZEM NAPISAŁA O NAS HOLANDIA.
Background Magazine słynący z recenzji prog-rockowych nowości napisał o naszej płycie wnikliwą recenzję. Warto podkreślić że holenderski rynek jest dość wyczulony na tego typu muzykę.