8MM

International pop-prog band are back with their sixth album, their first without founder William Beckers but their fourth since prog royalty Nick Beggs became a full-fledged member. The album is also the first recorded with all band members present in Frank Van Bogaert's new studio in the Belgian countryside. Here the band pulls together to use their music to react to the COVID pandemic and all of its fallout.

1. "8mm" (4:43) A beautiful, fully engaging song that tells such a meaningful, relatable personal story using an AMERICA "I Need You"/ALAN PARSONS PROJECT "Eye in the Sky"-like sound palette and form to do so. Great team vocals from Frank and Nick. (P.S. I love the accompanying video that the band used to release this song onto the Web via YouTube.) The music here is simple but effective, giving lots of room for instrumental nuance and flourish. The final two minutes seem to offer superfluous material (maybe for the sake of the video) but the ending is satisfying. (9/10)

2. "Collateral Damage" (4:19) piano, strummed acoustic guitars, bass and rhythm electric guitar support Frank Van Bogaert's AMERICA/Dave Gilmour/ALAN PARSONS PROJECT-like vocal. Nick Begg's ChapmanStick really picks up its prominence after the first chorus. Nice motif switch in the third minute after Marty Townsend's pedal steel guitar solo. Nice atmospheric Neo Prog. Though the chorus is not my favorite, which is probably why this one misses out on earning a place in my top three. (9/10)

3. "Overture to Flame" (1:45) instrumental intro to the next song. Great piece! Kind of a combo of Alan Parsons Project, and John Entwistle's bass from "Emminence Front." Definitely the proggiest work on the album. (4.625/5)

4. "Flame" (7:46) another 1:45 of proggy instrumental work bleeding over from the "Overture" leads into a solid song with co-lead vocals of angel-voiced Frank Van Bogaert and Nick Beggs and some very solid acoustic guitar work from Marty Townsend. A lyrics-delivery mechanism, I find myself a bit out in the cold as to the message and, therefore, the fullness of the song's intended impact. The singing here is actually the weakest part of the song: it's just a bit too wispy and smooth whereas I feel a need for some power to match or enhance the intricate instrumental work. (13.125/15)

5. "Jump This Wall" (5:54) opens with a nice APP/TANGERINE DREAM-like synth-led intro section before the full band kicks to create a lush APP/GENESIS NeoProg sound palette. Awesome multi-voiced group vocals (including co- composer, Sofi Dykmans) and some fun Nick Beggs Rickenbacker bass walking. I'm not quite sure what the lyrics are about: "I'm having a ball, Frankie, let's jump this wall," "Mississippi" and "freedom"?!? Bonus fun is the presence of Theo Travis on alto sax and flute. Still: a top three song. (9.25/10)

6. "Don't Lose Your Spirit" (5:43) like two songs in one: the first 2:30 is instrumental, then a shift occurs and a vocal supporting tune plays out (once again using Frank and Nick to share the lead duties in tandem. Man do these two vocalists make a perfect match!) At 4:38 the song switches to yet another mellow motif for Frank to solo outro with only his keyboard and voice. Amazing finish! Definitely a top three song. (9.25/10)

7. "Funerals" (7:39) opens like another electrically-amped AMERICA song (especially the vocal melodies and stylings). The big switch into a completely new "Caribbean yacht" motif at 3:50 is pretty cool: allowing Frank and Marty a chance to show a little of their skills (on Hammond organ and nylon-string acoustic guitar, respectively). At 5:17 we morph back to a vocal section. Incredibly beautiful. Man! I wish there were more bands doing these kinds of group harmony vocals. Very nice synth and electric guitar play on the 1:15 outro. Nice sophistication of the overall construct. Great mix of vocals and awesome bass and guitar play. (13.75/15)

8. "Silently Raging" (4:11) another fairly straightforward song (about the concerns of CCT monitoring, Artificial Intelligence facial recognition and the degradation of human privacy) that benefits from group singing to include representation from the female sector in the forms of Lula Beggs and Sofi Dymans as well as some nice incidentals from all of the instrumentalists. (8.75/10)

9. "Instillers" (5:19) opens with some Peter Gabriel-like electric piano over which the boys sing collectively (though it sounds as if Nick might have more of the lead). Nice lower range soloing from the electric guitar during the fourth minute's instrumental section. As usual, really nice melodies and very solid sound and construction. Nick Beggs' sound in the fourth minute's instrumental section is to die for--and the key changed reprise of the chorus near the end is absolute ear candy. (9/10)

10. "A New Home" (4:25) a pretty standard lush pop song in the vein of 10CC or Alan Parsons Project with the delightful addition of Lula Beggs on background vocals while her father flourishes his ChapmanStick prowess within. Nice lap pedal steel work from Marty Townsend. (8.75/10)

11. "Life Is Like the Weather" (2:31) (I love the accompanying video as created for the band by Nick's daughter Willow.) (8.875/10)

Total Time 54:15

Comparisons (and valuations) to my all-time favorite NeoProg album, Equations of Meaning by British artist Tony Patterson are not only warranted but necessary. This is incredibly intimate and evocative music for me and definitely my favorite (and the best) album by Fish On Friday (that I've heard so far).

B+/4.5 stars; a near-masterpiece of Prog Pop music that most prog lovers will love--especially if you're into the lush soundscapes of the NeoProg world.

Let's just start here by saying that this band just keeps progressing and gets better and better with each release. No easy task as their previous effort 'Black Rain' was an outstanding offering, well worth checking out if you haven't already. This one, arguably, is better still. It is filled with beautiful arrangements, melodies, and instrumental excursions that are at times haunting, other times invigorating and uplifting. The lyrics are catchy and intelligent, often highlights of the songs. The vocals are most enjoyable and pleasant. They are strong when warranted, appropriately soft and aethereal at times, with plenty of engaging harmonies. This band is a master of songcraft for sure! I seriously wonder if this group of artists could produce a bad song even if they set out to do so deliberately.

This album, like the previous one, is highly accessible, but has plenty of cross-over prog aspects such as tempo changes, instrumental shifts, and different sounds and moods. There is plenty of variety to keep it interesting over repeated listening. That being said, some may tend to say this is more on the soft rock & pop side, and this is arguably so. But be thinking in terms of later years Moody Blues, Alan Parsons Project, early Beatles, some solo David Gilmour, Pink Floyd, pre pop ELO, early Supertramp, Blackfield, and others in this vein. There are more influences that are not coming readily to mind, but you should get the idea. The outstanding achievement is that while you will catch glimpses of these influences, this is no knockoff band. FoF has a definitive and unique sound. The conclusion is that, if this is somewhat more pop than prog oriented, it is highly elevated, sophisticated, and has a musical integrity and degree of complexity that doesn't insult your ears or intelligence. One can only hope this album gets the exposure it surely deserves!

So, some thoughts on the tracks...

8mm: FoF have a knack for starting their albums with a great opening track and this one is no exception. Here we have the title track and what a way to start! This is nearly a perfect song. Starts with pensive piano over projector sounds. Anyone with a little age on them like me remembers these noises and it creates an uneasy DeJa'Vu and a sense of loss for days gone by. Full instrumentation quickly follows with the opening lyrics soon following perfectly encapsulating these feelings. About 2:15 the tempo changes and there is an instrumental escalation that captures the sense of emptiness and frustration that comes from being able to recollect the past but not bring it back, and then to conclude, it returns to the lovely opening melody and lyrics, and fades out. Prog oriented enough for me. I'll say it again, a nearly perfect song. Hard to believe, but there is better yet to come. (10/10)

Collateral Damage: Okay, another nearly perfect song, albeit in this case more on the pop side of things. Starts once again with a tinkling of the piano and then full instrumentation following, nice acoustic oriented guitar work building up to electric guitar with some pleasant, restrained soloing. The catchy lyrics and hooks drive the earworms in deep. If you don't want to sing along with the chorus after a listen or two there must be something wrong with you. Perhaps a tiny bit repetitive, but it's just so good that you won't care. (10/10)

Overture to Flame: The shortest track, and the only instrumental, and it is way too short. Starts with a striking guitar riff over light synth wash, drums enter to up the beat, and then a synth rhythm follows that raises up the Alan Parsons vibe in a big way. If you like the old APP instrumental tracks, you will love this. It is unfortunate because it is so good, that instead of exploring this instrumental line more fully, it drops off quickly to fade into the next track. It is an overture after all, the warmup and lead in for what is to follow. We'll lean this one to the prog side. (9/10 Docking a point because it is too short!)

Flame: So here we roll into the longest track of the album, and arguably one of the less pop and somewhat more prog like ones. According to their web site, this is the first cover that they have ever done, and they chose a good one. I looked for the original to compare them, but couldn't find it, so I'll venture to say that it is a bit obscure. In any event FoF seems to have made it their own with their signature way of constructing songs. This one starts slowly with nice acoustic guitar, almost with a hint of a Spanish melody, slowly builds and then ballad type lyrics and vocals enter around 1:45. The music drops back to acoustic guitar and slowly builds up again. The arrangement is very nice with some upfront bass and enjoyable drum fills steadily moving things along. About the 6:00 minute mark the beat picks up out of ballad mode and starts to take flight, the intensity builds to its outro fade out. Another great track. (9.5/10)

Jump This Wall: This was the one that was a grower for me. It's curious that this was the case really, as it is a very good track, musically interesting and upbeat, with even a touch of brass laced throughout. The male and female vocals add an extra dimension, and the lyrical content is timely, touching on 'being locked up in a lock down', seemingly alluding to the contradiction of having freedom to move and at the same time dealing with so much isolation at the same time. All good and well. Here though, was my problem, the 'I'm having a ball trying to jump this wall' chorus which is prominent throughout the song didn't really work for me. Although a catchy rhyme, it just seemed clunky and awkward. It even annoyed me a bit. But after a few listens to the album, what lyric kept popping into my head? Yeah, this one. Go figure. So, it's a grower. My lowest rated song for this album, but still very good all in all. (8.5/10)

Don't Lose Your Spirit: This is a big one for this collection and for FoF in general, starting with a great instrumental intro for the first 2:30 that slowly keeps building in intensity, pretty rocking for this band! Then suddenly, a big tempo change but still with a strong beat, and vocals enter. The blend of male and female singing makes this full and rich sounding. Another chorus here that you can take home. Last minute ends with yet another contrast, a quiet contemplative tone with a slow brooding vocal fade out finish. These guys are just so good at what they do. Yes, another near perfect tune! (10/10)

Funerals: This is my number one track here, and may in fact be the actual perfect song in this offering. This one checks all the boxes for me. While still cross-over and immediately accessible, this has definite prog roots with some nice shifts and variations, but it's long enough to develop the themes and sections to satisfaction. Starts with a slow tempo, and just slightly eerie tone. The vocal carries the feeling further, with guitar coming in to further enhancing the eerie flavor. A little further and the synth enters just building things up more. At about 3:45, there is a big tempo change and the mood shifts to a more happy feeling but with an organ underneath keeping the slightest hint of the eeriness, and then a memorable acoustic guitar lead over the top. Very nice! Drops back to bring the vocal full cycle with the opening flavor but just a bit more lifted up in intensity. Lyrics in this song shine. On the one hand you can relate to the idea of unrequited attraction, but on the other hand there is just a bit of creepiness given the context. Leaves you wondering. A great song! (10+/10)

Silently Raging: Starts with a light synth roll and percussion, while spoken word vocal touches on the growing loss of privacy by facial recognition, followed by a female lead vocal with male backing, so there is a different and warm feel to this. There is a bit of edge that picks up the anxiety of the brave new world we are all facing. Some nice lead guitar in this one to good effect, but always in control, never unrestrained. This is followed by a second spoken word section that this time touches on trying to allay any concerns of our being monitored by the powers that be. Timely stuff, and another strong track. (9/10)

Instillers: Starts with a sort of Genesis atmosphere, with synths similar to their Duke era sound, but quickly grows into a big up tempo arrangement. Big guitars, bass, synths, and drum propulsion. Every instrument is sounding distinct and powerful here, well mixed. Lyrics regarding the madness of mankind's course and poor interactions with one another sets the tone. The musical arrangement is intense, at least as intense as it gets on this album, and the ultimately positive message works well with it. (9.5/10)

A New Home: This is a beautiful duet in a mid pace ballad with just a bit of a jazzy vibe. This band makes these songs seem so easy to make. They sound so simple, yet there is a delicious subtle complexity and sophistication in the musical arrangements that is undeniable. It is just another example of how it so easy to be absorbed right into the FoF musical universe and just get lost in it. The lyrical theme centers around the plight of refugees. The predominant essence of the music is a mournful, longing overtone that has a sense of despair, yet it has enough uplift in it to also carry a ray of hope. Just so well done. Another very strong song for sure! (9.5/10)

Life is Like the Weather: The slowest, simplest, and most stripped down offering on this album. This one raises the ghost of early Beatles type ballads. It is also short like a 1960's single should be, catchy, warm and immediately likeable. A most classy and elegant closer. These folks sure know how to transform their sound in a myriad of ways and do it so well! (9.5/10)

In conclusion, this album is extremely high quality in most every way. Don't miss out on it! It's truly dumbfounding that it hasn't received more exposure. In my book, there are four nearly perfect (10 pt) tracks, another four (9.5 pts) that are just shy of this mark, and the remaining three receiving high marks as well. The production is extremely high quality, clear and vibrant, with every instrument easy to pick out and follow. Nothing muddy here at all. The arrangements are superlative, a combination of top tier song writing along with prime musicianship that extolls the talent of these artists. Everything here works together in a logical cohesive way, yet each song is strong enough to stand alone. The songs channel various emotions through both the lyrics and the melodies, creating a most refreshing experience, one that you will want to come back to frequently. This is definitely a five star effort in the cross-over prog category, highly recommended, and absolutely essential if you are into the accessible end of the prog wheel house!

"8mm" is the sixth and latest album by Fish On Friday, the international studio band formed around singer/keyboardist Frank van Bogaert. Indeed international, with a guitarist living in the US and another band member from England, along with two Belgians. However, the progressive dream-pop/art rock of the group is truly exceptional. On "8mm," it sounds just as fantastic as on the previous album, "Black Rain" (2020), which is absolutely amazing. It all starts with the artwork by Michal Karcz, not only beautiful but also unmistakably carrying the FOF (Fish On Friday) aesthetic, which is logical since he has been involved with the band since their debut album, "Shoot The Moon" (2010).

The new album had a creation process spanning over 3½ years due to the lockdown. Nevertheless, this period of inactivity led to significant inspiration. "8mm" has become a beautiful contemplative record filled with expressive lyrics about, among other things, the loss of a loved one and emotions that took shape after watching a few 8mm films. Van Bogaert has managed to frame these lyrics with electrifying compositions that have a sultry and brooding feel.

A look at the lineup reveals that it remains unchanged compared to "Black Rain." With this reassuring consistency, you know you can expect a lot of beauty alongside Mr. Van Bogaert's atmospheric keyboard work. The music is filled with the outstanding guitar playing of Marty Townsend. At times, you hear him sparkling, at other times, he solos with impressive slide guitar work or showcases his talent on the acoustic guitar. The rhythm section also remains the same, with the tasteful drummer Marcus Weymaere and the presence of Nick Beggs, which is a delight. His creative playing on both bass and Chapman stick adds depth and spaciousness to the music. Beggs has made significant contributions to the band in two ways. Not only has he done a great job as a new co-producer, but his role as a singer alongside Van Bogaert has grown immensely. The rich vocal layering is of unparalleled beauty, with a touch of reverb here and there. Always excellent. Fortunately, his daughter Lula is back also. Her clear voice is a real addition to the music. She only appears in three songs, and it's smart she appears later on the album so you can look forward to it. She is truly the icing on the cake.

With the title track, which was released as a single, you are immersed in a pool of melancholy. This is not unusual on an FOF album, but this time, you are confronted with a piece of personal sorrow. Watch the video on YouTube and draw your conclusions. Van Bogaert adds some more prominent keyboard work, and then he takes it to infinity. Next is Collateral Damage, and you'll want to stay in your melancholic mood because the Blackfield vibe here is wonderful, although FOF is definitely not an imitator.

When I first heard the next song, I was left in awe in my wheelchair. This can't be?? This can't be Flame by Metro? But it was. A cover of one of my favorite songs. I've listened to the FOF version many times now, and all I can say is 'wow.' From the swinging overture with its funky guitar, through the complex section with the beautiful acoustic guitar, to the swelling finale, the FOF gentlemen interpret the song perfectly. Especially Van Bogaert's singing carries the same melancholy as Duncan Browne.

Van Bogaert and his colleagues must be brimming with confidence because by placing this sublime cover so early on the album, they set the bar very high for themselves. However, FOF effortlessly maintains the high level with Jump This Wall, where Theo Travis delivers delightful saxophone and flute passages to the listener, or Funerals, which, after a strong middle section with organ and later acoustic guitar, explodes into a blissful finale. Especially the songs with Lula Beggs, Silently Raging and A New Home, have that magical touch that makes every album special. "8mm" closes with something unique. Life Is Like The Weather is an exceptionally beautiful little piece.

With "8mm", FOF has delivered a true masterpiece. An album so full of atmosphere is indeed something extraordinary. FOF has the urgency to create such music, and that deserves a deep bow.

Orginally posted on www.progenrock.com