The ‘Others’ E.P. is basically a collection of left-over tracks from their last album (‘Falling Satellites’) released in 2016 and with a running time of 32 odd minutes.
Acting as a taster for their next album, that is due to surface in September, this 6 track EP is most welcome treat one that, once again, proves that the creative force found in the mind of Jem Godfrey never rests and that, even now, his mind is still crafting and creating aural treasure for our delectation.
The EP opens in style and with a real presence in Fathers which utilises lots of vocal tricks to enhance the sound alongside some pretty ferocious drums and guitar work. There’s an almost thrash tempo to it that is softened by some prominent synths before an altered vocal is brought in. This is a very powerful song with some serious drive to it, thanks to Craig Blundell’s hearty drum patterns.
This is the suddenly interrupted by a brief xylophone break, which is very different, and then the main riff crashes back in again before a child’s voice says ‘goodnight’, leading into Clouda, which opens with gentle keyboard effects and a sole vocal. The song then morphs into an electronic dance sounding track interspersed with more keyboard effects among pounding drum patterns, keyboard effects and samples. An acoustic guitar lightens the tone, rendering some gentleness to the song before reverting to the harder format again.
This song is very atmospheric,the middle section is dreamy in tone with lots of effects surrounding the music, although I must confess that I don’t know what he is singing about! It is certainly effective though as, once again, this sound hurtles along with barely a breath. The music is very interesting and effective before another gentle dreamlike section towards the end, sounding like something out of a fairy tale, brings it to a close.
Exhibit A opens with a guitar and some chant type vocals that fade to sampled keyboard sounds. Again, it is very dance driven and sounds almost like an African rhythm before a huge guitar riff and drums crash in. More treated vocals are employed before the choral chant is introduced with more keyboards and programming, “We won, we own you…” is repeated to great effect before a brief keyboard riff and then onto verse 2! Telling us again that we are owned and will do as we are told. There is a middle section of some spaciness and then the guitar solo and drums play their parts along with a wild synth solo. It is all very effective asthe chorus plays out, with a female vocal this time, and more keyboards/samples bring the song to a fine conclusion as a strong spoken male voice riffs over then end of the song. The track is all about the downside of fame and how it’s not always what you thought it would be and how it can be a prison of your own making.
Fathom is a song about a wife who goes to war with her husband rather than him leaving her on her own. The piece has a military feel and beat to it and it certainly tells a different story. This is a very emotional song talking, as it does ,about the reality of war and the lengths this wife went to be with the one she loves. There’s sounds that are reminiscent of ELO in the Synths and there is also much tenderness to it too, in the emotions it expresses. Next up is Eat, which is very vocally effected and manipulated to good effect, the clever effects really adding emphasis and emotion to the song again, most impressive. The song is actually about a blood sucking insect and its view of a victim!!
The final song is called Drown. Again a very languid and dreamy piece with lots of chiming keyboards and samples. Craig’s drumbeat keeps it all in time and holds it together. Quite a simple piece but it is an effective and reflective one to round off a very different style of progressive rock music, the sort that makes you think WTF initially but that gradually grows on you the more your hear it and become acquainted with it.
I have to confess that I know very little about Frost* overall, never having heard their previous albums. That is something I will have to rectify now, I think, as this has certainly impressed me and whetted my appetite for more!
With FROST*’s latest album, “Falling Satellites”, dating back to 2016, it was about time, mastermind Jem Godfrey teamed up with Nathan King and John Mitchell to continue forging daring and dynamic progressive music. After announcing the 32 minutes long “Others – EP”, now the time is nigh to reveal a brand-new track ‘Exhibit A’.
Jem Godfrey states: “It’s good to be back with a cheerful song for these cheerful times! This is about being careful what you wish for when playing the fame game”.
Completed already back in 2019, Jem has the following to say about the “Others – EP”:
“Others” is a 6 track EP containing 6 songs that were written at the time of the “Falling Satellites” album. Initially the idea was that “Falling Satellites” would be a double album, but it felt more focused and concise as a single album by the time we’d finished making it, so these half completed songs were put to one side. Now finished and mixed, they are ready to see the light of day!
The EP will be released digitally on June 5th, 2020 and will be released as part of the limited “13 Winters” anthology-artbook physically later this year.
With FROST*’s latest album, “Falling Satellites”, dating back to 2016, it was about time, mastermind Jem Godfrey teamed up with Nathan King and John Mitchell to continue forging daring and dynamic progressive music.
Completed already back in 2019, FROST* now announce the release of the stunning 32 minutes long “Others – EP”. Jem Godfrey states:
“Others” is a 6 track EP containing 6 songs that were written at the time of the “Falling Satellites” album. Initially the idea was that “Falling Satellites” would be a double album, but it felt more focused and concise as a single album by the time we’d finished making it, so these half completed songs were put to one side. Now finished and mixed, they are ready to see the light of day!”
The EP will be released digitally on June 5, 2020 and will be released as part of the limited “13 Winters” anthology-artbook physically later this year.
A first track from the “Others – EP” will be released on May 22!
The track-list is below:
3. Exhibit A
Furthermore, FROST* are putting finishing touches to their highly anticipated new studio album which is tentatively scheduled for a September release through InsideOutMusic.
“You can decorate absence however you want- but you’re still gonna feel what’s missing.” ― Siobhan Vivian
Bloody hell, I didn’t realise it has been 8 years since Frost*, the brainchild of seminal keyboard wizard Jem Godfrey, released their last album ‘Experiments In Mass Appeal’.
This was a band who I saw supporting Dream Theater in Leeds and, despite the fact I’d never heard of, or anything by, them, was utterly blown away by the combination of incredibly complex keyboards and fizzing guitars which, combined with impressive melodies, gave us the breath of fresh air that was the ‘Milliontown album in 2006, one that is still revered in hushed tones to this day.
My love of Dream Theater began to wane in earnest that evening but I have been waiting with bated breath for news of a new Frost* album.
So, to bide the time awaiting the new record I came up with imagined scenarios as to what Jem could have been up to in the intervening years (I know, I need to get out more).
Have any of you watched DC Comic’s The Flash? I bet a few of you have but, if not, a quick summary.
Uber genius Harrison Wells has his own particle accelerator (like you do) at his company Star Laboratories which goes into meltdown and causes a huge explosion. Some of those caught up in the blast end up with super powers, Meta-Humans, some good and some bad.
Now, imagine if our Jem was one of those caught in the fallout and his supercharged, manic energy came as a result of the Star Labs explosion? (still with me?, good!) and he has been kidnapped by some evil Bond villain and forced to sit in a room and churn out turgid mainstream hits for the last 8 years?
Enough to send you mad, you would agree? Not Mr Godfrey, upon his exciting escape, he set about writing the latest Frost* album ‘Falling Satellites’ and put all of his near 8 years in captivity into this latest bombastic musical extravaganza!
On ‘Falling Satellites’ Jem Godfrey is joined by long term collaborator John Mitchell (Lonely Robot/It Bites) on guitar and vocals plus Nathan King (Level 42) on bass and drummer Craig Blundell (Steven Wilson).
“This line-up has been in existence since 2010 and is now the longest version of Frost* that there’s ever been”, says Godfrey, “so it’s strange to think that this is the first time we’ve recorded an album together”.
There are 11 songs in total with the final 6 songs forming a 32 minute long suite called “Sunlight”. Within this collection of songs comes an unexpected guest appearance from none other than Grammy nominated guitar legend Joe Satriani.
As to the album’s theme… “It’s about chance and life. The astronomically unlikely chance of being conceived to start with and then surviving to old age”, Godfrey says, “the near impossible odds of the things that happen to you in life benefitting you rather than killing you are gigantic and yet it happens all the time. It’s about celebrating how extraordinarily rare the period of us being alive is and how we should take more time to appreciate it while we’re here. We’re a long time dead at either end of this brief little flicker.”
What were we going to get after eight years? opening number First Day is a short introductory track that has Frost* writ large all over it, reverential keyboards and hushed, breathy vocals given a real sense of anticipation before we get into the new music proper…. Numbers showcases the new high energy prog/pop style perfectly with a funky keyboard intro, full of energy and innovation. The harmonised vocals are excellent and you just find yourself toe-tapping madly to the addictive sound of crunchy guitars and Jem’s manic keyboard style. The fast paced guitar licks and solo add even more impulse to this high octane four minutes of near-perfect musical vivacity.
How do you incorporate dub-step into progressive pop music? I have no idea but Jem Godfrey obviously does! Towerblock begins in quiet, reverential fashion, all calm and collected before all hell breaks loose and a really dynamic and grungy keyboard takes over. To be honest I had no idea what to make of it at first but, do yourself a favour, just go with the flow and it soon starts to make addictive sense as it gets under your skin. Flowing, fluid and off the wall keyboards writhe around never quite letting your brain comprehend them and Jem’s fiercely protective vocal gives a serious edge. It really shouldn’t work but it does, gloriously, as you find yourself playing air keyboards and jumping up and down (what do you mean, you didn’t?). One of the most innovative and fresh tracks to hit progressive rock in many a year, I loved it, the utterly demented keyboard and drum frenzy that closes out the song is inspired.
The calm after the storm, Signs begins as a wistful and whimsical delight with carefully delivered vocals before opening up with a monster riff and some towering keys. The rhythm section of King and Blundell (new cop partnership anyone?) ably providing support. the track flows between these calm amd collected verses and the lofty and imposing chorus where the organ-like keyboards add a real note of veneration. A superbly crafted piece of songwriting with some punchy powerful riffs that showcase Mr Mitchell’s guitar prowess and an utterly compelling performance behind the kit from Craig Blundell. This song sees a more influential return to the expansive and charismatic soundscape well beloved of Frost* fans everywhere and brings a smile to my face. Oh you thing of infinite wonder and delight, Lights Out is a gorgeous little track that pulls at your very soul with its unclouded resplendence. The keyboards have an ethereal edge to them, Craig’s drumming is sublime and the vocals have a soft yearning feel underlying them. A touch of longing fills your soul and you drift away on a cloud of well-being, notably Frost* but with a new and stylish veneer. Belay that feeling of goodwill, the high-energy intro to Heartstrings takes no quarter and fills you with a feeling of expectation. That keyboard heavy sound returns and the instantly recognisable and harmonised chorus could only be Frost* at the height of their powers. Like a white water ride in a tumbling raft, the irrepressible dynamics of the song pull you along in their wake, an utterly willing victim of its charismatic persona. The final repeat of the chorus feels like an outpouring of emotion as the track closes out with a hook filled ending.
The whole album is full of superb tracks and this is only intensified with Closer To The Sun. Another fine exponent of the new found pop sensibilites it just feels right. The introduction is catchy, upbeat and utterly persuasive and has a feel of lazy summer days without a care in the world to it. The vocals are kept in the background and everything is expertly subdued before John Mitchell delivers another spellbinding guitar solo that squirrels through your mind, touching every sensory receptor before making way for Jem’s potent and progressive keyboards that tell a musical tale all of their own. Zone out these two musical maestros though and you can hear the notable chops that Nathan and Craig bring to the party. If the previous track was smoother than an otter’s pocket (thanks to Robin Armstrong for that gem) then (deep breath all) Raging Against The Dying Of The Light – Blues in 7/8 is as forceful as a tsunami. The thunderous opening is dominated by the evil sound of Jem’s keyboards, literally blowing everything out of their path. The vocals have a real dark edge to them, forceful and demanding and Craig really gives his kit a work out. The real star of this track though is the hugely demonstrative tone of the keys as they forge their own way, brooking no argument. The occasional lulls only seem to enforce the aggressive and potent intent of the rest of this red-blooded track, it’s like Frost* on something entirely illegal, it shouldn’t be allowed, just be glad it is! I do like a good instrumental from these boys and they really scaled the heights with Hyperventilate from ‘Milliontown’ so it was great to know that ‘Falling Satellites’ would feature it’s own. Nice Day For It….. is another great track, technically it’s not fully instrumental but you’ll forgive me that foible I’m sure, that just seems to flow perfectly from beginning to end, all the musicians working in perfect harmony to deliver a near flawless slice of melodic precision that is just bliss to the ears. It rises and falls superbly, the keyboards being the driving force once again, guitar adding the finishing touches and drum and bass playing the perfect wingmen.
Hypoventilate is a two minute wall of sound, a musical force of nature that blots out the Sun around it. An slow burning, brooding and intense musical experience that just knocks you over, leaving you senseless before the gentle persuasions of Last Day pick you up and get you back on your feet again. The tender, mellow piano matching the placid, if a little care-worn, vocals to close out ‘Falling Satellites’ in a nostalgic, sentimental, even slightly regretful, manner.
So, after an eight year hiatus Frost* have returned with a triumphant third album that ticks all the relevant boxes for this tired old music hack. Definitively Frost* and yet with a distinctive lustre and some rather inspired new sounds that give it even more depth. Instantly accessible but, also, with untold layers of sophistication, oh bugger, this musical year just keeps getting better and better!