SUMMER

Color me impressed. Frequency Drift has already given us a masterpiece this year in "Over", an album that represented true progression and that contains some of the best songs of the year. In fact, as I write this, "Over" is still my favorite album of 2014 thus far. So, leave it to Frequency Drift to release yet another album of sorts called "Summer". The stated purpose of this album is two-fold. First, this album is a fundraiser for the band so they can do some touring (always a good thing). Secondly, however, "Summer" represents the end of an era for the band. Though the band is being rather mysterious about it, their next album is assumed to be somewhat different in style, and so Frequency Drift has decided to give one last hurrah before they move on to other things.

So, is the swan song of this era any good? It certainly is. Quite appropriately, the six tracks on this album are reworked, previously unreleased songs that the band have upgraded and perfected. Because of this, most of the tracks will remind fans of earlier albums, such as "Personal Effects" or "Ghosts", albums with which I fell in love in the first place. This means the songs are dreamy, flitting, and extremely atmospheric. Take, for instance, the title track "Summer" and the laughing that is present or "Summer's End" and its water effects. This type of thing is common with this band, and I simply love it. It's so refreshing.

Yet, the band doesn't rely on effects for filler. They are accents to the brilliant music. They augment it and nothing else. Again, the title track "Summer" is simply killer. The guitar melody is a work of genius, and the finger work is deft. In fact, "Summer" may be one of the best songs the band has ever made, and it is worth the price of admission alone. Indeed, it even approaches the brilliance of "Memory" off of "Over", which is as high a compliment as I can give it. "Summer" is representative of the whole album, though. The rumbling, organic drumming, the impressive bass work, and the stunning, visceral keys are all present throughout the album. Amazing. This band has finally come together as a tight unit.

Isa's voice sounds wondrous and whimsical. She really matches the tone of some of the previous vocalists, but I feel her voice is richer and she nails the melodic hooks even better. It is a true joy to hear her exercise her vocal feats around the soaring guitars and satisfying thumping of the drums. I must say that the guitar solos are especially impressive on the album, very soulful and creative. The sounds of summer's end are certainly present here, too, as the waning light and the ominous cold of autumn seem very discernible. There is a certain sorrowful tone of resolution that pervades this album, but it's a sorrow that mourns for nostalgia, yet hopes for the future.

So, support this amazing band. Frequency Drift deserves more attention, and "Summer" proves that. "Summer", "Summer's End", "Distant", and "Siren" are my favorites here, but the entirety of the work needs to be heard. It's the end of an era, and it certainly feels like it. So, the band has ended this era with a splash---quite literally.

We, the followers of this style of music use the word 'progressive' in automatic obviousness throughout our discourse and no finer example can be found as with German band Frequency Drift. Not only have they 'progressed' in general terms, blending folk, classical and rock music but they have constantly honed their own style , evolving from the first two 'Personal effects' releases and culminating in a series of upwardly spiraling masterpieces , "Ghosts", "Laid to Rest" and "Over".

Finally, a page is turned with the download-only release of "Summer", a final coup de grace before embarking on a stylistic change that will take them into new musical realms. As expressed by my PA colleague, this is a band that has achieved glorious heights and is utterly deserving of intensified attention. Their style was so powerfully constant and solid that the band had involved three female vocalists, without the slightest cringe or regret. Brothers Christian and Andreas Hack have now left behind a colossal legacy of brilliant sounds and amazing albums, allied with delicate infusions of cello, flute, violin, viola and harp.

The classic title track encompasses all one needs to admire about FD, a shimmering and glimmering piece that scours the entire musical horizon, enriching melodies, towering vocal work and illuminating instrumental playing. This soaring 12 minute testimonial is without a doubt the quintessence of their career, a finely chiseled guitar rampage that has all the Hackett-isms in place, whilst Isa Fallenbacher can sing like the wind rustling through the forested woods, the tight band provides a stellar disposition to creating various surprises. Wolfgang Riess unleashes a simply truculent bass solo that left me spent, piano in tow, synth bubbling in the background and the drums keeping the beat. Stunning stuff! Christian Hack's powerfully melodic guitar line has all the sizzle of an Andy Latimer or Odyssice's Bastiaan Peeters. A prog masterpiece of the finest pedigree!

"Distant" is a reworked piece from the very early days, a folkier feel enhanced by Isa's pastoral vocal, a fairly straightforward delivery until Andreas fills in a forever expanding synthesizer lead that guides the other players to some musical promised land, as Christian shows off some wonderful restraint on his axe. Very distant, indeed!

"Siren" started out as a solo platform for the brothers to fiddle around on (originally on the Laid to Rest album) and was reworked specifically for this release. Shimmering synths, glorious piano and a stimulating guitar solo that is loaded with finesse and tender picking. Christian really shows off some tremendous jazzy licks, sounding at times as if Al DiMeola was in the studio for a visit.

"Midnight" is quite a different song, a pre-FD track that never got the right amount of love, retooled here with Isa really taking over, the music tight, slightly dissonant and echoing with spirit and shade. Crystalline piano, violin silverware and exquisite bass/drum linen adorn the table, a moody piece that eschews any kind of expectancy. Once again the synths and the electric guitar carve away at the priceless roast, a delicacy of sounds and tones.

As per the liner notes "The original version appeared as "Ringshine" on our album "Ghosts". Originally an electric harp solo piece, it was newly arranged by Nerissa and Sibylle to feature two instruments that have shaped the particular sound of Frequency Drift: The cello and the harp". This quality classicism is what makes FD such a masterful listen, a band that has squarely infused all its inherent tendencies, a perfect amalgam of styles that fit wonderfully together. Gentle and ultra-romantic diversion from the daily routine. Yummy!

"Summer's End" fittingly finalizes this brief masterpiece, another jewel in the FD crown. A somber cello perpetuates its sorrowful lament, Isa providing the angst 'upon her head' as the band adds the appropriate amount of colored doom. A more than fitting finale, though this piece was written exclusively for this release, it provides an unquestionable sense of irrevocability.

FD is going in another direction, I just hope their new vision is as focused as their previous endeavors, I for one intend to follow, my curiosity being challenged.

I hate downloads, being a traditionalist for artwork and credits, so I will negotiate some kind of CD from the band but Summer is a fitting finale of the very highest order, proving that even their left-over numbers from the past have enough merit to fit among their best. This album was mastered by Jacob Holm-Lupo of White Willow fame.

5 seasonal suns