LUNATIC SOUL is the solo outfit of the creator, vocalist, and multi-instrumentalist Mariusz Duda. In 2008, he launched a separate outlet in which, as he says himself, he wanted to create something different and uncompromising. It's an attempt to blend ambient music and electronic music with folk and rock influences. While the artist doesn't reject the label of progressive rock, he believes that "LUNATIC SOUL gives me more room for musical originality than RIVERSIDE." The new eighth album will be released later in 2025 via Inside Out Music internationally and Mystic Production in Poland. All eight albums form what is known as the "The Circle of Life and Death," a cohesive story in which a solitary artist-traveler journeys between life and death.

This is a double length album, and it has 14 songs. The title track is first. A steady electronic beat opens the song, followed by backing keys that give it a haunting feeling, and make it breathe. The vocals are serious in nature, and it feels like he is narrating a story. Both the gentle, solemn piano and bass work provide much of the emotions in the song. "Loop of Fate" is equally as serious, with another gentle opening of tom drums and acoustic guitars. It's what lurks in the background that makes this song so tense sounding. He builds so much emotion in so little sonority. "Break the cycle," he whispers repeatedly. "Good Memories Don't Want to Die" has sentimental tones, as the title suggests. The smooth, gentle vocals are packed with feeling, and the moving guitar notes sing out to the stars. "So why do I suppress the bad things as if nothing was wrong," he asks himself.

"Monsters" has firmer, marching tones in the guitar work, and darkness abounds. The creature slithers on the ground and under the bed, staying out of sight. "The Prophecy" rests deep in thought, and I absolutely love the tender vocals. What is he trying to foretell? Mariusz lets a little light into the song to illuminate the landscape that he unfolds in front of you, and it is majestic. The melodies are simple, but very catchy. "Mind Obscured, Heart Eclipsed" is longest on the album. It has a tentative opening, with just a few synth notes, but it swells into some outstanding bass work and a jovial little melody. You can feel the winds shift frequently in the song, sometimes a cool breeze, and other times stiffer. A crunchy riff approaches, followed once again by outstanding vocals. Sax notes come alive, and layers are added until the tension reaches the boiling point. "Torn in Two" is a wonderful piano led song that just makes your heart ache. Add in the strings, and it's like another dagger. It has such tender and delicate sound.

"Hands Made of Lead" is a curious offering. Synth and piano notes lead the way, and Mariusz narrates the first few vocal lines. He asks, "I just woke up, because I did wake up, didn't I?" Following the tense opening sequence, a hardened guitar riff takes over, with heightened saxophone notes. The tension returns towards the end, as if revisiting the subject and the curious phenomenon. "Game Called Life" is another lengthy song. Emotional vocal hums lead off the song, as if in contemplation. It transitions to a heartier sound, with a steady hand on the synth that simulates a drum beat. You can't help the feeling though that he is still locked in battle with himself. "I will no longer remain at the table, I am done with the game called life" he declares defiantly. The extended instrumental passage that follow is hypnotic.

"Confession" is more straightforward with the melody, and it's as smooth a baby's bottom. "Parallels" might have the heaviest sound on the album. Although what floats above is gentle and melodic, the synths lay down a heavy bottom end. It's a study in contrasts, if you will. "Self in Distorted Glass" is the third 10+ minute song. It's livelier, and more energetic, and that dull heavy beat grows heavier as it moves, with a swell in the vocals. It's a smooth ride the entire time, with no breaking or sharp turns. The final song is titled "The New End." What a glorious ending to the album. The piano notes and vocals are heavy with emotion, and the melody is somber but so beautiful. It seems to give me a renewed outlook on everything…and things are going to be OK.

According to the internet, "The world under unsun" might best be understood as a world that exists in darkness. Not destroyed, but deprived of light. The album feels like standing at the edge of existence, staring into the space between what is living and what is lost, and the music drifts like mist across forgotten landscapes, pulling emotion from silence as much as from sound. The emotional weight of the album lies in its reflection. It's a contemplation set to sound, a journey through metaphysical terrain that lies between the pulse of life and the silence that follows it. It's progressive rock at its most human…a search for truth carried out in echoes, resonance, and light fading into darkness.