THE WINDMILL

Norwegian proggers The Windmill are back with their fourth album. The line-up on their 2010 included Erik Borgen (lead & backing vocals, guitars), Jean Robert Viita (keyboards, lead & backing vocals), Morten Clason (sax, flutes, keyboards, guitars, lead & backing vocals), Arnfinn Isaksen (bass) while both Sam Arne Nøland (drums, percussion), and Stig André Clason joined in time for the second album. It was the same line-up on the third and would surely have been the same on this one, but sadly in the spring of 2018, drummer Nøland was diagnosed with cancer, and he died later that year. The band looked to Kristoffer Utby, who plays with Stig André Clason in Infringement to be the replacement, but although he has played on this release he has now decided to concentrate on that band instead and he in turn has been replaced by Nils Harsem.

Any band who kicks off an album with a 22-minute-long song are setting out their stall from the beginning, saying, "we know we will be roasted by the mainstream rock press but that is not who this is aimed at", which is exactly what they did last time as well. I love the approach, and very quickly am deep inside what is a very enjoyable Neo prog album indeed. They are listed on PA as Heavy Prog, and I fully understand why that is the case as they do crunch guitars, but this is one of those bands who would happily sit in more than one sub-genre, and I am sure the HP team were very pleased indeed to grab them first. Mind you, there are elements when these guys are overtly Crossover so probably it is best to describe them as modern commercial sounding progressive rock and leave it there.

They are not always heavy, there is a lot of light and shade on here, with plenty of acoustic guitars and piano, and one of the joys is not knowing what is coming next. With plenty of singers there are loads of harmonies and polish, and I feel there are more influences from The Flower Kings readily apparent on this release, and a little less Wakeman and Jadis. The flute sounds do make one think of Jethro Tull, but in a modern context and not Seventies (and to be honest, just the use of a flute in prog often makes one think of Tull given Anderson is so ubiquitous).

I have still yet to hear the debut, but I have thoroughly enjoyed the last two albums and yet again we find the Norwegians are taking loads of influences and melding the into something which is incredibly polished and enjoyable on the first time of playing and repeated listenings just makes it better. It has been six years since the last release, but at long last The Windmill are back with yet another delight.

The Windmill, a band known for its single tracks, which improves over time. Let's go see it right away.

"Fear" melodic prog metal intro with a strong synth; between power, enchantment and Olympicism; note Stig's enjoyable guitar solo, Erik's vocal opening on a Manichean piano amplifying the musical drama. The voice is well placed, the chorus pleasant; break at 7 minutes with riff and flute, synthesizers for the Scandinavian folk-bucolic atmosphere, on Overhead. It's melodic, nervous, cheerful, a bit on Ritual too; 12 minutes and the Genesisian, symphonic break. Long title that returns to the solemn chorus before the instrumental part and Morten's aggressive flute. Jean Robert's velvety old school keyboard gives in to reminiscences and launches Erik and Stig's guitars; the addition of the sax reinforces the warmth of the yesteryears for the warm finale.

"Calton Hill" very beautiful dynamic ethereal keyboard intro, a guitar riff that comes to look at Toto or even Saga, it starts well; the result finally on a marshmallow rock soul à la George Duke with sax that denotes heavy riff; an anachronistic genre that gives it a new imprint. "I Still Care" delicate piano intro, velvety vocal from Erik, it changes everything; Morten's flute brings delicacy, lightness and rustic contemplation with the organ of yesteryear; chorus with conventional choruses redundant for a new prog more than a heavy prog. "Nothing in Return" nervous drums, aggressive flute, riff to Jethro Tull marked. The vocal looks at Kansas, languorous with its share of choruses. Jean finally uses his keyboards for the rhythmic, Kashmiri prog variation flowing from the source, accompanied by Morten's bucolic flute. The synths return with the guitar riff to give a catchy heavy sound.

The Windmill, with a sound becoming stronger, emphatic, symphonic, alternating delicate passages on the flute and other rhythms avoiding the vintage side. Originally on Progcensor.

Fourth album from this amazing Norwegian band, astonishing because all of their recordings have garnered very scores from prog critics, as well as accolades from fans across the world. Ever since that 2010 "To Be Continued ?' debut, they have followed their promise by 'continuing' to dish out a delightful, wholly original sounding heavy prog, led by the terrific keyboardist Jean Robert Viita, guitarist Erik Borgen's immediately recognizable timbre on lead vocals, the bass rumble of Arnfinn Isaksen, Stig Andre Clason on guitars and the meandering magic of multi- instrumentalist Morten Clason's flute and sax. These five have been onboard since day 1, creating a highly homogenous and well-oiled outfit that has carved out quite a career in Progland. Sadly, the original drummer Sam Arne Noland (RIP) passed way after recording the third "Tribus" album. New kit meister Kristoffer Utby has been recruited from fellow Norse band Infringement, which also features Stig Andre Clason, and is causing quite a stir as well.

While only 40 minutes long, this release does kick off with a brazen epic track, the nearly 23 minute "Fear" but no need to call in the Reaper, the piece is a slab of genius that should make many prog epic-length lists for 2024! Shooting off like a searing comet, the organ, synth and guitars meld into a hot cauldron of sound, navigating all kinds of time signatures, tempo changes from booming to benevolent, until the bass and piano unite in a common cause, carving out a lovely melody that shines light on Erik's soothing voice. He is in another league altogether, not the usual growly Norse voice but a suave crooner, not closer to the great Morten Harket, but seems to fit the music perfectly, exerting solid control in hitting the higher notes and adding a touch of tremolo for effect. The raging organ abducts the arrangement, soon incorporating a magical flute, as well as spirited synthesizer flutter, making the entire bloom with anticipation. When the scratchy e-guitar ogles the flute, there is an obvious Tull feel, overtaken by a thumping chorus one could feel coming from afar, choppy organ emitting a Uriah Heep feel, 'with your back against the wall', repeated for good measure by adding harmony vocals to the mix. An open corridor beckons the road ahead, as the piano and flute reestablish their tender tussle, a clever set of transitions that keep building into a sublime groove, suddenly elevated to choir-level passion. Intensely enjoyable music, this! Utby in particular knocks his skins with fortitude. Clearly the piano is the conducting mechanism in the entire composition, guiding the ultra-romantic guitar exercise from Stig Clason, while the other Clason's flute whispers sweet nothings, much to our delight. Eloquent and sensitive, the finale sprinkles a sense of having overcome the anxiety successfully, the saxophone oozing a slick Andy Mackay like temper (Song for Europe, comes to mind), a sublime number that will offer much joy to the prog listener.

Change of pace on "Calton Hill", a rousing anthem-like comp, that is nothing quite as elaborate as the previous monument, more a straightforward rocker that should go down a storm in a live setting, once again crowned by some tasty vocals and expert keyboard, guitars and rhythm section work. The extended soloing section goes from brass to keyboards and then to electric guitar effortlessly consolidation the atmosphere. Redolent power ballad is to be found on "I Still Care", another hymn with powerful vocals, delirious flute meanderings that counterbalances well with the rollicking organ and guitar sections. The backing vocals exert a celestial feel to the proceedings, with a tingling piano finale. Getting hot and heavy on the crunching "Nothing in Return ", a rousing steamroller with a bashing drum assault, gritty guitar riffs, and grimy organ waves to keep the bouncing boys and girls happy, the track sliced wide open with a surgically sharp synthesizer razor blade, ready for a Celtic-tinged ramble deep into the enchanted forest where the flute rules supreme.

The Windmill was never a band conceived to boldly conquer new territories in search of advanced civilizations, but rather an entertainment-oriented crew that plays their own music for just that one reason, having a well-defined style that never, ever disappoints in terms of enjoyment. That explains their high ratings as well as may fans out there. If you enjoy Flamborough Head, Stuckfish, Realisea, Lesoir, Believe, Satellite etc?the Windmill should move your sails perfectly.

4.5 brain realms

Tribus is the 2018 album from The Windmill, a band that is new to me. Right off the bat, I was skeptical of the band's categorization as Heavy Prog from the RateYourMusic tags (which are also wrong) that claimed this was "pastoral". This is a really decent release of psychedelic influenced prog. It also verges on Neo-Prog at times, but I'll talk about it later.

My biggest problem with Tribus is the opening track, the Tree. It was such a misstep that I turned the album off while listening with one of my friends after just that song. It starts with a lush acoustic guitar and flute soundscape. After 3 minutes of a vamp, the Windmill brings in the synths and psychedelia. It almost reminds me of some moments off of the most Solina-heavy Tangerine dream songs. It blends into a verse that is very so-so. The vocals sound strained and slightly awkward at this point, especially with the anthemic vocal harmonies that feel inappropriate with how saturated and "large" they are. The hook is really shaky, rhythmically awkward, and lyrically questionable. However, the worst part of this song is the jazz section that starts 10 minutes in. The riff is so childish and hokey in a way that doesn't seem intentional. The piano comping is so undynamic. It brings me back to high school jazz, where the charleston rhythm is basically the only driving thing to this section. It moves into an acapella section that is just laughable, cheesy, but ultimately goes nowhere. I'm not saying bands can't have fun with eclectic styles, but it is completely out of place, has no thematic drive (what does this even have to do with the tree?), and is immediately made inconsequential by a hard transition back to the psychedelia and "prog". It then moves into a laughably white "funk" section that at best has a passing semblance to something from the Wall-era Pink Floyd. It again has no thematic development and gets erased by a (admittedly really cool) riff that takes the song into a harder Jethro Tull styled section. After some 8 ish minutes of musical wavering, it goes back to the original "hook". These lyrics are particularly naive. I wish they had explored a story instead of starting it halfheartedly, doing absolutely nothing for 10 minutes, and then closing it with an emotional arc that we didn't get to experience. "I like it now"... why? What changed? This is bad storytelling, and an amalgamation of styles that they clearly aren't compentent with. Again, I'm not saying that they can't be eclectic, but the Windmill seems very out of their league when they're doing funk and jazz (and also very good when they go back to psychedelic prog rock).

I apologize in hindsight for writing so much. I take huge offense to prog "epics" that don't deserve to exist, and I feel like it drags the genre down to expect people to pay attention to something that should be either multiple different songs, or not exist in the first place. Thankfully, however, the rest of the album is very good!

Storm is one of my favorite tracks from this album, slightly more in the "heavy prog" vein (although this album is not really heavy prog at all). It's atmospheric and develops in a way that's satisfying to my ears. It proves to me after the huge misstep of the first track that they do know how to chain ideas in a composition. Additionally, as an instrumental, it has none of the Neo-Progesque wavering "choruses". I love how they shift from flute and piano (acoustic instrumentation) to electric sounds so freely.

Dendrophenia follows Storm as a single-worthy short track with a noted hard rock sound. The songwriting on this track feels a lot more tight and organized, and the singing is a lot better. I don't have much else to say other than that it's alright!

Make Me Feel is another highlight of Tribus, featuring again tighter songwriting. In addition, the vocal harmonies actually feel appropriate as they are. The instrumentation actually reminds me of early Marillion at times. I think this is secretly a neo-prog album. Part of why this 9 minute song is successful is (hammering this point in again) it doesn't detour into a bunch of unrelated ideas. It ends with a solid climax with symphonic elements and more beautiful flute playing.

Play with Fire closes the album with an acoustic opening. This song sounds like a lost Jethro Tull song, for better or worse. They do play with the Tull influence in a way that makes it not derivative. It's not an epic closer track, but it's a nice single-worthy song that doesn't do much wrong. I love that it ends on an acapella refrain!

Overall, this album is a mixed bag. The "singles" are alright, but not exactly songs I would go back to. Storm is probably the best part of this album, a really cool 10 minute sonic journey. Make Me Feel comes in second place, tying in with a neo-prog flare. At the bottom is the Tree. When summarizing this album, I have to take into account that the Tree is 24 minutes long and is only good for about 5 of them. I think The Windmill is a cool band, but if they focused on making songs like Make Me Feel and perhaps more instrumentals like Storm, they could produce an excellent album. That said, the potential isn't exactly in practice for more than 20 minutes of this album, leading me to say that this is probably a good, but non-essential record. I would recommend it to anyone who's interested in a fresh take on Neo- Prog. If you're expecting a heavy prog album, you probably won't get that experience from Tribus.

The recording sessions for Tribus, the third album by Norwegian prog maestros The Windmill, would be marred by the death of Sam Arne Nøland, the group's drummer. One can only hope that the group will find a way to balance respecting Sam's memory whilst keeping on going, because despite such difficult circumstances for all concerned the improvement over their previous album, The Continuation - which was no slouch itself - is notable.

Playing in a heavy style which at points puts me in mind of a "what-if" in which Jethro Tull merged with Uriah Heep (Jethro Heep? Uriah Tull?), the group also sneaks in gentler touches to their music reminiscent of, say, some of the more delicate moments of the neo-prog bands. This is served up in portion sizes to suit all appetites, from album- opening epic The Tree to the comparatively short and sweet closer Playing With Fire.

All great stuff, drawing on the instrumentation and attitude of 1970s prog without deliberately trying to replicate any particular approach to it in too slavish a manner. Truly, this is a Windmill of the participants' own specific musical vision; long may it keep turning.

Heavy Prog? No, absolutely not! I am very much into Heavy Prog since the mid-Seventies, from Uriah Heep, Deep Purple and Vanilla Fudge to Atomic Rooster, Led Zeppelin, Ayreon and of course Rush, but I can hardly trace any Heavy Prog hints. I can imagine that The Windmill is not easy to pigeonhole because this Norwegian band (rooted in 2001 and produced only 3 albums until now) easily switches from early Seventies Genesis (twanging acoustic guitars and flute) to mid-Eighties IQ (hypnotizing with Mellotron violins and moving electric guitar). Or Camel inspired, from dreamy with flute to a slow rhythm with a moving electric guitar solo. And the music is loaded with twists and turns, musical ideas and a variety of instruments, from swinging jazzy piano to powerful saxophone and from Spanish rock guitar to a capella singing and a folky tin-whistle, it all happens in the strong epic opener The Tree (almost 24 minutes). So we can enjoy symphonic rock, Neo-Prog, Rock Andaluz, folk rock and jazz, but no Heavy Prog.

And how about the other 4 compositions?

Storm (10:05) : First a slow rhythm with soaring keyboards and wonderful flute and acoustic - and electric guitar, halfway bombastic with howling electric guitar and intense piano. Then dreamy with piano and mellow saxophone, followed by a bombastic part with moving electric guitar and sparkling piano, and in the end a churchy organ. It all sounds very flowing and compelling, wonderfully arranged.

Dendrophenia (4:34) : Catchy rock guitar riffs, then a tight rhythm with vocals and mellow Hammond, to me it sounds like AOR.

Make Me Feel (9:39) : A slow rhythm with flute and lush Hammond, then dreamy with flute and piano, along warm vocals. In between some more bombastic eruptions. Then harpsichord and flute and propulsive guitar riffs, with howling electric guitar. Finally up-tempo with fiery rocky electric guitar and dynamic rhythm-section and some flute.

Play with Fire (4:34) : Dreamy with acoustic rhythm guitar and flute, then a slow rhythm with flute, Hammond and pleasant vocals (male and female) and flute traverse and slow synthesizer flights, like "folk rock meets melodic rock", with hints from Camel, Solaris and Jethro Tull, but more song-oriented, very catchy and cheerful.

So hardly any Heavy Prog moments, apart fromMake Me Feel and Dendrophenia with rock guitar. The Windmill is a band that delivers a very melodic and harmonic eclectic sound, wonderfully coloured with a wide range of instruments, often between dreamy, slow rhythms and some bombastic or harder-edged moments. Although it's not really my music, I am impressed by their compositional skills and how they have found their way between symphonic rock, Neo-Prog, melodic rock, folk rock and AOR. I think it is most close to Neo-Prog, it's no coincidence that Karl Groom (Threshold, Shadowland and Strangers On A Train) did the mixing and mastering of this CD.

My rating: 3,5 star.

P.s.: Other new interesting bands that are not on PA: The Adekwaem (Neo-Prog), Laura Meade (from IZZ, eclectic), Encircled (Neo-Prog), Fizbers (Eclectic) and Dean Baker (from Galahad, excellent electronic).

It is safe to say I had been eagerly awaiting this album, as I had awarded their 2013 release 'The Continuation' 10/10, and at long last the Norwegians are back with their third album. Any band who starts an album with a song well in excess of 20 minutes are always setting themselves up for critical backlash from anyone who doesn't really enjoy the genre, but for me I just sat back and let the music build and take me into their wonderful. Flute and acoustic guitar makes one immediately think of classic Camel, but then we move into Jadis crossed with Rick Wakeman and at six minutes one realises there still haven't been any vocals yet! There just isn't room for them as the music builds, then just thirty seconds later the music drops in tempo, the piano comes in and Erik Borgen finally makes his presence felt. By now we are in Flower Kings' territory, and it is time to stop playing "spot the influence" and instead bask in what is yet another quite wonderful album. Harmony vocals? Delicate emotional lead guitar? A keyboard player who moves between Mellotrons and piano? Woodwind? A bassist and drummer in perfect harmony who provide additional melody when it is required and pushes along when there is a requirement to give it an edge? Yes, all of that, and so very much more.

There is a refusal to sit too long in any one melody, or to feel they have to confirm to any rigid norms, while also creating progressive music which is very easy to listen to, full of hooks. It is an album to close the eyes to, and then get carried away on the sax line. Then compare opener "The Tree" to third track "Dendrophenia" which is far more rock based, with repeated riffs, showing they can get heavy when they want to. It feels that the band really can do no wrong, as this is the second album of theirs I have heard and it is yet another stunning piece of work. An album to just keep playing, time and again.

Review # 101. The Windmill is a Norwegian band that I discovered recently, and to be honest I was impressed. I had no idea about them until I saw some very good ratings and reviews about their latest album Tribus, and I decided to give it a try. Their music style can be characterized as Heavy Prog with a sound that reminds the bands of the '70s, but in a more modern way.

The album opens with the 24-minute-long The Tree, which left me speechless! If I would like to describe the feeling I had, I would say that it is as if you enter a train for a long journey, without knowing where it is going to lead you. So, you just sit back and enjoy the ride, with its infinite turns and changes of the landscape, and the peace you find yourself in. When the journey finally ends, you know that you only have to press "repeat" in order to feel it again. It is one of the album's "stronger" compositions, but that doesn't mean that the rest of the songs are just "fillers". Each of the 5 songs is wonderful in its own way, and creates different feelings for the listener. The Tree is followed by the 10-minute-long instrumental Storm. What I wrote about The Tree stands for Storm as well. The only difference is the length of the "journey". Another excellent track, including flute that permeates a vintage sound, if I can use that expression. Dendrophenia that comes next, is a lovely track that could easily fit in any of the old albums of Uriah Heep. A very nice and more "straight forward" track. Make Me Feel, the album's 4rth track, is another highlight! Again, a long ? 9.30-minute-long track, is one of the album's stronger compositions. I didn't pay much attention to it at first, because I kept listening to the first 2 songs repeatedly; but when I finally decided to continue with the rest of the album, this was the song that stuck with me again. Play with Fire is another wonderful tune that concludes the album in the best way possible. A more Folky and happier tune in comparison with the previous songs. Due to the sound of the flute and the singer's voice, it reminds me of Jethro Tull a little bit, but it cannot be characterized as a "copycat" in any way.

The things that I loved in Tribus are; firstly the very good and strong compositions, secondly, despite their sophistication, the songs don't tire you out. Although most of them include lots of changes, they come artlessly and effortlessly. These guys don't try to impress the listener with their technical skills, (which are very good), but with the quality of their music and their overall performance instead. This is a wonderful album that you listen from the first until the last minute, without having to skip not even one song. All the songs are wonderful and they have something to offer. Stronger tracks: The Tree, Storm, Make Me Feel. Weaker Tracks: None. It would be a mistake to ignore this album! Give it a try and you won't regret it. My Rating: 4.5 stars.

Norwegian band THE WINDMILL have been around in one form or another since 2001, and when they released their debut album back in 2010 they were a band that had developed into a tight and compelling unit that knew perfectly well what they wanted to achieve and how to go about it. Hence they hit the ground running, and have kept up ever since. "Tribus" is their third studio album, and was released through Norwegian label Apollon Records in the late fall of 2018.

The Windmill is a band that, if it isn't already present, should be added to the check list for just about anyone with an interest in early to mid 70's progressive rock. I find it rather charming that they choose to combine several aspects of vintage era progressive rock with a wee bit of vintage hard rock as well, which as I regard it makes the album experience one with at least a potentially broader reach. Be that as it may be, in their chosen field this is a solid band with a solid new album to their name.

'Tribus' is my third encounter with Norwegian band THE WINDMILL that does live up to expectations. Once again, the keyboard player Jean Robert Viita and his crew (respectively, Erik Borgen ? lead singing & guitars; Morten Loken Clason - flutes, sax, b/v; Sam-Arne Nøland - drums; Stig André Clason - guitars, Arnfinn Isakson - bass) have proven their talent and masterity. There's so much going on the new issue to provide a substantial added value. As starting point, I have to say that 'Tibus' comprises five tracks to extend almost 53 minutes, where each sonic excursion is perfectly done, leaving the listener enough of time to explore the musical approach.. Now for a look at the songs individually. The album comes off with a multifaced epic 'The Tree', builded around improvisational prowess. The pastoral introduction brings a recognisable Genesis hallmark which gradually flows towards to the pulsating template of IQ. What emerges after a while is a gentle piano accompaniment, leading up to the emotive voice of lead singer and lovely harmonies, whilst the stylish guitar excursion and rhythmic background are succeeding to pose the tight display of ensemble musicianship. In terms of execution, this part is reminiscent of the Dutch neo-prog scene. The continuation reveals a bizarre collage featuring sax and flute, jazzy tones and folky themes changed by latino colors and sudden acapella performance, the exciting instrumental propulsions alongside movie soundtrack feel. The later segment harks back to a mellow pattern, standing pretty close to Silhouette. Using a fadeaway formula, the whole thing ends with a graceful melodic signature comparable with classic Pendragon. Sure, that was a tremendous start for the journey. Then 4 more chapters to go. A sensitive instrumental piece titled 'Storm' has the main focus on exploring moods and atmospheres, complete with sound waves and deep space in the production department. The core influences here are ranging from the orchestration type of Alan Parsons Project to the 70's Genesis paradigm in an intriguing manner. By the token, Camel and Fish On Friday also come to my mind. To surprise, the distinctive guitar passages may be associated with such masters as Vinnie Moore and Joe Satriani. The next track 'Dendrophenia' switches to realm of hard- rock, most closely reminding about Deep Purple - just think of their 'Come Taste The Band' album and you will not go far wrong. The follow-up, melodically crafted 'Make Me Feel' sounds like a nod to Arena. The influence is apparent, albeit the embodiment is a bit different. Rounding out this disc, a peppy cut 'Play With Fire' wraps things up in a Jethro Tull styling. As final point, I would say that the cover art (by Kirsten Knoph Viita) is well suited to the repertoire and overall it's a beautiful package. The lyrics and drawn images complement the quality of music contained within. All in all, The Windmill have done a great job. So folks, make no doubt and reserve a spot for "Tribus" on your CD shelf. RECOMMENDED!