BLACK SCIENCE AND WHITE LIES

This Norwegian band's third album is still captained by an ongoing member of the Windmill in guitarist Stig Andre Clason, as well as the latter's current drummer in Kristoffer Utby. The line-up is rounded out by new bassist Emil Olsen, keyboardist Bard Thostensen and terrific lead vocalist Hans Andreas Brandal, almost the same crew as on the previous 2019 album "Alienism" which was very well received in the prog community. The intervening five years gave the group a fair amount of time to configurate their opus, as the third album can often make or break a budding career. Well, offering only 2 very long, multi-segmented tracks can be viewed as a highly risky endeavour, yet the lads boldly forge straight into the upper levels of credibility, with an incredible release. Not surprisingly, their brazen vision was to suggest two different moods, pulled off with flawless precision.

The darkly menacing "White Lies", as the title clearly proposes, they choose a stark essay on our current status of world affairs with a rambling sermon on the futility of what we are led to believe, all sides guilty of exaggeration, opinion-peddling, and blatant politicizing absolutely everything, the confusion and frustration succinctly evoked in the powerful instrumental battering unleashed by the irate guitars, the venting keyboards, the galloping bass line and the full-throttle drum support. The vocals are off the charts, moving from the frantic opening speech on "doctrine", passing via a flurry of female voices and finishing off with some rampaging lead vocals that certainly impress. The alternating softer sections weld perfectly with the brasher yet fluid guitar spirals, the voice now hushed in apparent despair to 'save my soul', backing chorus adding depth to the dense arrangement. Emil Olsen wobbles brilliantly, the screeching axe finds the room to grind and drums providing much needed wallop. Bard unhinges his various keyboards from any restraint, delivering a monstrous barrage, on organ specifically, a real treat for both the ears and the soul to which they are connected! Naturally, the unrestricted pressure has now been elevated to the point of damnation, and the volcanic nature of the explosion hits home, and hard. A brief moment of silence, then a modern multi-voiced version of a barbershop quartet enters the discussion before returning to the molten fury but with a funky gothic whirlwind coloration that defies the standards. Bombastic, an over the top and fascinating piece of music.

"Black Science" showcases nearly 23 minutes of a perhaps more old-school melodic side, a tinge of medieval modulation creating a complex and emotive prog rock that shows off the exceptional chops all the players clearly possess in abundance. The melodic themes instantly adhere to the pleasure nodes, the vacillating organ doing unique damage, ably assisted by the conjugation of a tight as a screw rhythm section and capped off by Clason's magically evolutive guitar lines. Andreas sings in a more traditional prog style, at times a capella, rekindling the GG hint, the brooding bass guitar enjoying finding silence in order to push forth a now more sinister mood, Crimsonian touches ("Crimson Skies" sub-section) that verge of sorcery and enough variations to satisfy the diehard fans of adventurous music. The lovely piano sections are sensational, a moment of dissension amid all the chapters evoked in the Book of Necromancy. The musical wizardry returns for another spin, alternating cinematographic moments of horror and serene impressions of fantasy, keeping the avid listener on their tippy- toes, unaware of the next direction to be undertaken. Redemption becomes the final resting place, as with every living thing on our planet, the end transforming itself into a new beginning. The cycle of life, a final atonement, a perpetual salvation. The massive finale is crushingly poignant, the finest album ending in many a moon. I feel contentedly drained.

Two massively entertaining slaps in the face, punching also the gut of indifference and blandness. Incredible slice of modern prog at its very finest, with impeccable delivery and pace. Definitely a top contended for the 2024 podium.

5 Trespasses

I need to direct you to the fabulous (and only) review by tszirmay. I had not heard of this band at all and there has been no mention of them on the forum that I am aware of. What you get here is 2 different twenty minute + pieces of music. The first track is called Black Science and has a 'post rock' flavour. The second is White Lies and brings us back to a more traditional neo prog approach. For me this is exactly what I want from my modern progressive rock music and it's from Norway (of course!). 5 stars.

Epic Tracks doesn't Made Great Records

In progressive rock, there's a belief that a song over 12 minutes long is impressive, but when a song takes up an entire side of an album, it becomes extraordinary. Classic albums like Thick as a Brick by Jethro Tull, Foxtrot by Genesis, and Close to the Edge and Tales from Topographic Oceans by Yes feature songs that occupy a whole side, which has helped make these records legendary.

Infringement, a progressive rock band from Oslo, was formed in 2015 by Stig André Clason (guitar), Kristoffer Utby (drums), and Hans Andreas Brandal (vocals). Keyboardist Bård Thorstensen joined later for live shows, then became a full member, and the band's lineup was completed by bassist Emil Olsen.

Infringement's music mixes neo-progressive and symphonic rock, with an eclectic style that covers a wide range of influences. Their debut album brings funky, groovy rhythms as well as echoes of '70s prog rock. The band uses complex time signatures, symphonic arrangements, and surprising twists to create a sound that is both familiar and fresh.

However, this album shows that creating a conceptual piece with two long tracks doesn't always guarantee a masterpiece. It can be hard to keep such long songs interesting, and Infringement sometimes falls into repetition. Despite this, drummer Kristoffer Utby and bassist Emil Olsen stand out, bringing strong performances to the album. Sadly, the final mix hides much of Clason's guitar work, though he has added some interesting parts.

One issue with the album is the keyboard parts. Sometimes, Thorstensen's tone and vintage sound fit the music perfectly; at other times, the keyboards feel out of place or a bit cheesy. Thorstensen's role as the main harmony player seems to stretch him to his limits in these compositions. Vocalist Hans Andreas Brandal also struggles at times, as his voice sounds tired and occasionally off-key. Singing in English may not be his strength, which could be part of the problem.

Even with these issues, the album has its strong moments. It includes two main tracks: White Lies at 20 minutes and Black Science at 22 minutes. The band's style shifts between the influence of Magic Pie and Pendragon. White Lies, especially in part 4, is where the band sounds most united and energetic. Meanwhile, Black Science has a more atmospheric, neo-progressive style, with parts 4 and 5 delivering a satisfying climax.

After 44 minutes of listening, I enjoyed this album but wasn't blown away. The songs feel a bit too long, and shorter, more focused compositions could make the album more engaging. Overall, Black Science and White Lies is a good addition to the prog rock genre, though Infringement still has room to grow. With tighter songs and continued development, they could reach new heights.