The Dark Side of the Mole by Jakub Poćwiardowski & Lili

The Dark Side of the Mole by Jakub Poćwiardowski & Lili

A surreal adventure led by Jakub Poćwiardowski & Lili through soundscapes born from a childhood game and reimagined in progressive rock, classical, and ambient forms. From dancing under a volcano to running under a red sky, riding a time machine, and gazing at an eclipse on endless hills—The Dark Side of the Mole is an unforgettable journey through strange lands and shifting memories.

We begin our journey in the quiet hours of 4:16 A.M., where the first rays of sound pierce through the darkness. It's an invitation, a prelude that sets the tone for the odyssey ahead—dreamlike, mysterious, and full of anticipation. From here, we dance under a volcano, quite literally, in Dance Under the Volcano, a piece full of world-inspired rhythmic energy that pulls us into motion. The textures are lush, driven by layered percussion and synth bass, already hinting at the duo’s intricate sonic palette.

Red Sky follows with a palette of brooding tones and ambient rock influences. Echoes of Pink Floyd and Tool can be felt in the atmosphere—dark yet melodic, immersive yet elusive. The effect-laden guitars and shifting harmonic colors make it one of the more cinematic moments early in the album, setting the stage for The Run, a track where rock takes the spotlight. With its doom-tinged riffs and dynamic pulse, it’s a chase scene turned into sound.

Jakub Poćwiardowski

And then comes the core of this journey—the four-part Time Machine. Spanning nearly twelve minutes, it is a suite in the true classical sense, blending contemporary orchestral textures with progressive experimentation. Movement I introduces us to the mechanical clockwork of time; Movement II, takes a more introspective, piano-led route. Movement III strikes like a waltz of doom and decay—macabre yet beautiful—calling to mind the dance macabre of Berlioz's Symphonie Fantastique. Movement IV after a heartfelt solo by the lead guitar, resolves the suite with a sense of melancholic grandeur, leaving the listener floating through ages as the tik-tok of the clock slowly fades into time.

We then arrive at Dunes and Fatamorgana, a mirage-like solo guitar piece, serene and introspective. It feels like a rest stop in the vast desert of the mind. The journey continues with One More Knight, a powerful orchestral rock piece reminiscent of Therion’s orchestral rock arrangements, full of swelling harmonies and heroic undertones. Peripeteia—named after the turning point in Greek tragedy—is fittingly sentimental, its lead guitar lines weaving a narrative of reflection and change.

Souvenirs d'Amour brings us into the delicate hands of Lili. Her piano lines are both expressive and restrained, creating a sense of intimacy. The title evokes nostalgia, and the music follows suit—one can almost see old photographs flickering in the mind’s eye. Then comes Dark Side of the Mu, a musical monolith. The guitar solos here are pristine, emotional, and meticulously phrased—invoking the spirit of Andrew Latimer from Camel. It's one of the highlights of the album, balancing control and abandon with grace.

Lili

In The Chamber of Torture, the grotesque becomes musical. Featuring Bartek Brosz on accordion—the original composer of the game that inspired this album—the track morphs into a theatrical and dissonant soundscape, full of harmonic clashes and haunting melodies. It is grotesque in the best sense: absurd, bold, and unforgettable.

Finally, we reach Eclipse on the Endless Hills, a near ten-minute closing statement. It opens with virtuosic piano, moves through ambient spaces and orchestral peaks, and fades into an ethereal soundworld. By the end, we are suspended above the landscape we’ve traversed—hovering between reality and dream.

The Dark Side of the Mole is a myth, a memory, a maze of sound. Born from a childhood game and reimagined through the lens of mature artistry, it walks the fine line between homage and innovation. It is classical and avant-garde, grounded and space-bound. The arrangements are intricate without being overbearing, the instrumentation meticulously chosen, and the overall flow masterfully executed.

Whether you’re listening for the experimental flair, the technical prowess, or the emotional arc, this 78-minute journey will give you something to hold onto—and something to get lost in. A journey to remember.

Credits:

• Jakub Poćwiardowski

  • electric guitars, classical guitars (4, 6-8, 11, 13)

  • keys, synthesizers, bass guitar (4, 8, 11)

  • synth bass (2, 10, 11)

  • drum programming, composition (1-4, 5.I, 5.II, 5.IV, 6-8, 10)

  • mixing and production

• Liliana Palusińska

  • piano, orchestral programming (2, 4, 5, 7, 11, 13)

  • keys (2, 4, 6, 10)

  • lamp shade (13)

  • composition (2, 5.II - 5.IV, 7, 9, 11, 13)

• Bartek Brosz

  • accordion (11)

  • composition (4, 5.II - 5.IV, 6, 7, 9-13)

• Tomasz Jachowicz

  • composition (2)

• Piotr Knapik

  • album artwork

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