FROST*

But what makes this feel somewhat different for me is I remember having a crystal set radio as a boy in the Sixties and wondering what else was out there in the world as I scrolled through the static to hear foreign languages and music which sounded totally alien. Add to that Godfrey's skill as a composer, Mitchell's ongoing ability to make every project he is involved with indispensable, and a rhythm section to die for along with Godfrey deciding to undertake all the lead vocals himself this time means we get a very enjoyable neo/crossover prog album. The only downside for me is that it feels somewhat over produced and there is little in the way of vitality and excitement, which consequently means it comes across as single-layered as opposed to multi-faceted and while I enjoyed it, it does feel somewhat one-dimensional as opposed to having any great depth. It is just too clean, too perfect, but I am sure there will be many progheads who will disagree with me and feel this is superb. It is certainly worth hearing for anyone into modern mainstream progressive rock.

Furthermore, there is the introduction of bassist Nathan King and drummer Craig Blundell, completing the renewed Frost* lineup for 'Falling Satellites', an album that eventually has the strongest beginning of the entire back catalogue of the band - the pop-prog anthems 'Numbers' and 'Signs' as well as the futuristic 'Towerblock', what about some EDM-inspired chops on here? These are followed by the pure pop duet 'Lights Out', an interesting entry that takes us back to Jem Godfrey's background. Then we have the second half of the album, which is the more difficult listen in general as the band dares to experiment with a variety of styles and arrangements as many of the songs surpass the six-minute mark. Some typical Frost* on 'Heartstrings' contrasts with the lush soundscapes of 'Closer to the Sun', which also features a Joe Satriani solo on the guitar. 'The Raging Against the Dying of the Light Blues in 7/8' is a peculiar track that is very well-produced but somehow lacking compositionally, it seems as if it does not go anywhere, while the instrumental 'Nice Day for It'' could have achieved the same effect for half the length but these are very minor flaws that hardly interrupt the nice flow of the album.

'Falling Satellites' is a lovely record whose existence in the Frost* discography must be appreciated for its daring sounds and unusual nature, remaining somewhat of an understudy and a surprise, this record offers a renewed rendition of the band's sound, one that is the always relevant for the contemporary musical scene.

The unpredictable and often hysteric nature of the album is introduced swiftly with the title track that opens the album, a powerhouse compositions that preserves that very fine English melancholy, the ingredient that also renders 'Milliontown' quite special. We have electrifying playing and fast-paced riffs as the combat between the electric guitars and the synths are to be discovered on several occasions across the album, making up for a very recognizable sound that is prog but done in the 21st century. Once again Godfrey and company arrange the songs so that the gradual build-up "explodes" into the melodic choruses, which are always very memorable and unlike anything else you might have heard in prog around that time. The passionate playing frames most of the songs on 'Experiments', which is a very fiery album, as mentioned before, containing signature tracks like 'Pocket Sun', 'Dear Dead Days' and 'Falling Down'. Even the closing tracks 'Wonderland' is a very unexpected ride that reminisces strongly the feel of 'Milliontown', transitioning into a hidden track after a few minutes of silence.

The entire album dares to differ from its predecessor, and while the band remains essentially the same, 'Experiments in Mass Appeal' offers an even more energetic sound that still bolsters the precious tones of wintertime desperation that had defined the Frost* sound some two years prior.

'Milliontown' might seemingly incorporate the framework of progressive rock and while it also bolsters the lush pomp of the classic era of the movement, the entire album is infectiously ridden with contemporary sounds as the band takes complete advantage of technologies that were in any case unavailable in the 1970s. The overall melancholic tone of the album does not diminish or contrast with the uplifting and often fast-paced compositions, which are definitely quite suspenseful and even anxious at times (Just hear the opening instrumental, 'No Me, No You', or 'The Other Me'). The prevalence of keyboards and various electronic effects is one of the significant traits of this album, which as mentioned before, only takes the idea of what a prog album should be, but it renders it in a very modern fashion. Let's not forget the commercial-sided background of the album's mastermind, as the listener will be bombarded with incredibly catchy hooks and some of the most melodramatic pop choruses ever (mostly referring to the fantastic title track, a 26-minute suite that might as well be the 21st century 'Close to the Edge'). There is also a very fine interplay between the guitar tones and the sweeping synths, where each instrument complements the other. The sometimes drab but introspective lyrics add a layer of quiet but picturesque contemplation to the atmosphere of the album (Most prominently on 'Snowman' or 'Black Light Machine'). On top of that, we have a very solid album structure with just six tracks, each of which is a tremendous entry and a classic by the band, setting a really high standard for their contemporaries.

And with pristine production, a flaming desire to create something expansive and meaningful, and with a very talented and inspired line-up, it is no surprise that 'Milliontown' not only lives up to the promise, but the entire album swirls across as some sort of a musical typhoon. A great album that is up there with all the other classics of the early 2000s.

"Milliontown" is a refreshed take on neo-progressive, at times furious and muscular, at times calm, at times electronic, but always determined and intense. From the excellent "Hyperventilate", a development that goes back and forth between the instrumental overflow and Godfrey's slow piano notes, the album's proposal goes beyond the imaginary boundaries of the genre, and brings together elements from other musical trends such as nu-metal, although more domesticated in the hurried "No Me No You", the translucent and watery simplicity of "Snowman", or the industrialised pop of "The Other Me".

But it is in its final stretch where the work shines with special brilliance, with the exquisite guitar solos of John Mitchell (Arena/It Bites) supported by the tangled industrial and atmospheric arrangements of Godfrey's synthesizers in "Black Light Machine", and above all in the suite "Milliontown", a massive and excellent progressive display divided into seven sections with restful and hypnotic episodes such as 'a) One Underground', nods to Dream Theater's progressive metal in 'b) Abracadaver' and 'd) Core', digitised and intriguing vocals in 'c) The Only Survivors' and 'e) The Chosen Few', and an epic instrumental display for 'f) Two Underground', sustained by the solid rhythmic base built by the experienced John Jowitt (IQ) on bass and Andy Edwards (also IQ) on percussion, which concludes the vigorous suite. Simply unmissable.

As is sometimes the case with supergroups, expectations can be high and the results sometimes fall short of the presumed levels of quality. Fortunately, this is not the case with Frost*, "Milliontown" is a very good and promising debut album.

4 stars

.. but this is not quite the masterpiece you (and several others here) think. It really recycles a lot of Frost* ideas from years past. What is fresh is just very noisy -- too much compression in the mix.

I think "Life in the Wires, Pt. 1" is perhaps the most impressive. It's a very self-contained, clever piece, and it seems to give me goosebumps every time the noise recedes and the very shimmery lead riffs pop up.

As many pointed, this is probably Craig Blundell's best work with Frost* (since he was not on any recording until 2009ish). If you like drumming, you'll dig this. Thank goodness he was available, as the variation in drumming really kept me from digging Day and Age.

It sounds _a lot_ like Experiments in Mass Appeal, otherwise. Particularly Moral and Consequence. Propergander has a lot of the noisy bits of Falling Satellites era stuff.

A lot to like here, and several wonderful moments, but would've been better as a single disc.

Skywaving/Life in the Wires, Part 1 (8/10) Continuing straight from Day and Age, and introducing the main theme. Feels pretty Falling Satellitesque, but I like Wires Pt 1 a lot more now that I hear its beginning. Speaking of, they definitely chose a familiar sound for the first single. Heavy intro, but the structure is basic Frost. However, a basic Frost song seems to be required to make you feel like you're flying through space and have hooks other prog bands could only dream of. This song is full of energy and the great solos that many people have been waiting for.

This House of Winter (10/10) Another song that compliment Wires Pt 1. The transformation from coda to brand new song is incredible. One of the many ballads on the album, but this one might be the best. The section where the drums kick in and weave into the piano is beautiful, followed by a great guitar solo and then the absolutely incredible ending. This is where the album gets really creative and proves that somehow this bunch of 50 year old men can make something that sounds brand new. The band is really used its full potential here, every instrument perfectly complements the buildup. The ending really is just incredible, it's where the concept comes to life and I was completely hooked.

The Solid State Orchestra (10/10) 2 great songs, but somehow this is where the album kicks into full gear. The "can you hear me" sample from Day and Age is followed by the most hype solo since Milliontown. This song has that pushing and pulling quality that makes the title song from Milliontown so good too. God, this song is just perfect, and it's also the kind of song that justifies the concept album status. So many of the songs here just paint the picture of this world so wonderfully. Each piano key falls like a raindrop, the cymbals flow through the song like currents of air, the steady guitar keeps everything steady and looking forward. This is where I also need to mention that Jem's voice is perfect for this album. The light airy quality of his voice floats in the sky. And all these beautiful qualities are only the first 2 minutes before the song starts building towards that solo! The rest of the song is just as cleanly shaped. Many of the keyboard effects are very clearly keyboard, but Jem's quality production that was missing from Experiments and Satellites is back in full force here and keeps them from feeling out of place.

Evaporator (10/10) Another perfect transition into another perfect song. This is unfortunately where these perfect transitions end, I feel they can actually be a bit rough in the second half of the album. Jem stated in interviews that this album is meant to fill 4 twenty minute sections of vinyl, but Skywaving to Evaporator feels like a 30 minute piece. Evaporator itself is just as good as the previous 2 songs, and its name really is appropriate. I imagine if one were to listen to this on a mind altering drug it would really feel like it was evaporating you. I honestly just wish this song was a bit longer, the chorus is the fun and energetic side of Frost that isn't as present on this album as on Milliontown. I ended up listening to this song over and over because I couldn't get enough of it. It's yet another song that feels completely unique and cohesive to both the music and the concept.

Strange World (4/10) This is a very sudden and honestly, hard to explain drop in quality compared to the rest of the album. I really wanted this song to fit with the rest of the album, but no matter how many times I listened to it I just couldn't pay attention. I hear that Falling Satellite sample at 3 minutes though! This song isn't hard to get through, it just feels like a big gap that divides the 2 halves of the album. I have to wonder if this is the best transition between Evaporator and Idiot Box that Jem could come up with.

Idiot Box (7/10) Another classic Frost song with that touch of heavy. All 3 singles seem to have that in common. I also have to say, wow, the music video for this song is godawful and I couldn't stop from laughing at it a couple of times. The song itself is just a simple and powerful prog rock song, although around 2:30 I think it gains more traction. The distorted power chords behind the keyboard solo is VERY Milliontown, probably a closer replication than any other song on Wires. Other songs take the good qualities and use them for fresh new goals but that section is really just straight from No Me No You. I do like the last verse and chorus.

Absent Friends (7/10) Now this song is perfectly serviceable, but it actually drags the album down a little by making strange world even more pointless. Just a simple piano oriented piece musically, but the emotion is all there and it services the concept well. Also, as I mentioned earlier, I do wish the transition to the next song was a bit smoother. Not much to say other than that.

School/Propergander (10/10) Man this song really hits home the shift in the mood that Idiot Box started. School is really sinister, probably the most evil Frost song out there. It's also a great groove, another song that justifies the concept album and also stands on its own beautifully. It's fitting that this has my favorite solo alongside the one from Solid State Orchestra, considering one introduces livewire and one introduces the all seeing eye. School and Propergander are really one song when it comes down to it, but if I had to separate them I think Propergander would only be a 9. It's got a pretty standard structure, but man I just love the chorus here. It's a really powerful song, with yet another incredible Jem solo. He just does em' like nobody else. I think I could listen to a 5 hour album of an endless Jem solo. This is also the most british song on the album, never thought a silly little whistle could sound so evil.

Sign of Life (5/10) Ah, another fault of the concept album. The need to tell a story just doesn't always quite fit in music, especially in the sections where that story gets a heavier focus. The first half of this song is much like strange world, but fortunately the second half has some interesting detail and a little more energy. This song's real purpose is to set up the ending, which is truly a wonderful experience that makes slow moments like this worth it.

Moral and Consequence (10/10) The deepest cutting groove of the album. Between this and some interviews with Jem, you can really tell Craig Blundell is glad to be a part of Frost and has become a vital part of the band. Wires and Satellites easily have the best drumming out of the discography. Anyway, this song was another great choice for a single. It's also got the most self-fellating from Jem, lots of references to past songs here. He compared the structure to Black Light Machine, having a vocal intro and an instrumental backend, but it's a very fresh take on Frost. That also ties into it being the best of the 3 singles, being something anyone who's been a fan of past albums can get into while also presenting a lot of new ideas. The polyrhythmic guitarwork connecting the 2 halves of the song, man, I'll never get old of that. The heavy keyboard grooves, the floaty chorus, the lighthearted bridge towards the end, and the absolute wealth of solos, this song just has something for everyone.

Life in the Wires, Part 2 (9?/10) I honestly haven't quite processed this song yet. Oddly it feels like a Frost version of Detonation by Steven Wilson, it just has that combination of heavy and eccentric atmospheric prog. Also, Jem's voice at 7:30 sounds like Stephen Bishop and that's really funny to me. This song is also where I have to say I don't think this album quite lives up to Milliontown. There's much more top tier prog, lots of ideas that are executed incredibly, but it's just missing that moment of pure elation. The climaxes of Black Light Machine and Milliontown are the best pieces of music I've ever heard, absolutely face melting and out of this world. I was hoping this song would push Wires into number one but it just doesn't have that moment that tears my brain out of my body.

Starting Fires (7/10) A great sendoff to an album that went beyond my expectations. Ties up the concept and the music, and let you walk away feeling fresh and complete. It's hard to rate ending songs like this, the musical ideas are all fully explored so it doesn't have any ability to stand on its own. That's quite standard, but I personally prefer the high energy raucous type of ending like Milliontown or Raider II from Steven Wilson. Even so, it can be nice to finally let go and walk away after almost an hour and a half. Life in the Wires sent me spinning for a day or 2, it was really a shattering musical experience that I needed time to recover from. Albums like this are true masterpieces, and I'm glad Frost can still deliver 18 years later. I don't know how they'll follow this up, I just hope this isn't their last. Here's to a future unwritten masterpiece by these modern legends.

Standout tracks... "This House Of Winter" is my favorite. The strings towards the end of the song mixed with the gentle tinkling of the keyboard and xylophone gives me goosebumps. I like the heavy grooves of "Moral and Consequence" and how the tune blooms. Drastic changes propel the song from crazy to gentle, nice keyboard solo, and some serious off-kilter breaks. "Life in the Wires"... both parts rock but the epic second part takes you on a prog journey with unexpected twists and turns. This is what Frost* does best.

Jem said he wanted to give a nod to Milliontown with this album but I don't hear it. Unfortunately, what I hear is a brickwalled mix that is fatiguing. Otherwise, this is a solid album that is a worthy addition for all Frosties.