MILLIONTOWN

Milliontown is one of the most inspiring releases I've had the good fortune of listening to so far this year. Comprised of all stars of Neo-Prog all around, I would have had huge expectations of this release if it didn't sneak up on me as it did. That being the case, I was just plain shocked at how immediate and effective the music is. First off, the production on Milliontown is one of it's strong points. Crisp, crystal-clear, and especially modern, it gives Milliontown a relevant feel and is therefore not at all a throwback to the past as much Neo-Prog seems to be. It adds to what I see as an overall "wintry" musical feel to Milliontown, and I'm sure my perception of this is no doubt helped along by the album cover and indeed the band's name.

A unique thing about Frost is that their sound can't really be pinpointed or easily described. As I listen to Milliontown, I gather a long list of possible musical influences that range from Arena and IQ (which is obvious, considering several members of Frost hail from or have worked with these bands), but also latter-day Porcupine Tree, Falling into Infinity-era Dream Theater, and even Aphex Twin! All the influences come together to create a curious style of music which is bound by excellent production. The music is mainly Neo-Prog, but Frost also incorporate Prog-Metal into their music as well as symphonic tendencies and passages. Another draw for those that may not be the biggest fans of Neo-Prog is that the arrangements are lush without being cheesy, an aspect of Frost's music that is sure to please many Symphonic Prog fans. I don't think I have to vouch for the talent that these gifted individuals display, for their credentials are as good as any prog fan could hope for. But with their collaboration on Milliontown, they may end up turning a few heads among Prog-Metal aficionados who may think John Petrucci and Jordan Rudes are gods among men.

Jem Godfrey, in addition to playing keyboards, also provides the vocals throughout most of Milliontown. Unlike so many bands in the Neo-Prog genre, he rarely really lets go and wails, but rather sings in a subdued tone, making his vocal contribution another facet to the music instead of trying to share the spotlight with the music. His voice is also raspy, and listening to how it effects the feel of Milliontown is intriguing. Even though he's got a rough voice, Jem by no means can't sing. On the title epic, and several times throughout the rest of the album, he sings beautifully and the harmonies created with supporting vocals of other members in the band rival those of The Flower Kings.

It's apparent that Frost certainly had no shortage of creativity or ideas heading into this project. The band never lets up. Especially on the longer tracks, "Hyperventilate," "Black Light Machine," and the engaging epic "Milliontown," new musical themes are developed before the current ones wear out their welcome. These three songs are also the strongest on the album, but "Hyperventilate" honestly blew me away on first listen. It was partly because of my first contact with Frost's high- energy style of Neo-Prog which really took me by surprise, but also the sheer fact that it's composed in a way that no second is wasted while the band draws you in with shimmering melodies. The remaining shorter songs are a bit inferior to those previously mentioned, but they don't spoil the album. Instead, they move it along while trying new and different things. In these shorter songs, similarities to modern-day Porcupine Tree can really be heard in the aggressive vocals and guitar lines. The result is a bit more of an alternative rock format, but with a progressive rock attitude.

Whether Milliontown is a one-off collaboration between key members of the Neo-Prog elite or a beginning to a sonically adventurous career remains to be seen. Either way, Milliontown is another addition to what is so far a fine year for new Neo-Prog.