MILLIONTOWN

Frost* enter the prog rock scene in glorious fashion with their 2006 debut album 'Milliontown', a release that has since then cemented itself as one of the most important, innovative and energetic pieces of music of the 2000s. Now Frost* is the brainchild of songwriter and producer Jem Godfrey, an interesting musical personality coming from the more commercial side of the music industry, mostly known for writing hit songs for high-selling artists, which is definitely an interesting and uncommon background for the creator of a prog rock supergroup. Joined by John Mitchell, a veteran guitar player and songwriter from the neo-prog scene, bassist John Jowitt and drummer Andy Edwards, the first line-up of Frost* had been assembled and had the task of accompanying Godfrey in the creation of a record that sets a new standard for prog as the ambition behind the music and the compositions here is quite ostensible.

'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.