FROST* – Life in the Wires (Album Review)

by Prog Nick

Expectation is a weighty thing. I am a Frost* fan, and at the risk of repeating myself, Frost*’s 2006 debut album ‘Milliontown’ is one of my most treasured albums ever. It catapulted Frost* into ‘most-favored band’ status for thousands of Proggers and is today regarded as a classic of the Neo-Prog genre. The album was, quite simply, unique. Whilst neither Frost* (nor any other band for that matter) have quite scaled the heights of ‘Milliontown’, these gentlemanly British Proggers have come close several times. ‘Experiments in Mass Appeal’, ‘Falling Satellites’ and ‘Day and Age’ were all great albums in their own right, but the mega-opus that was ‘Milliontown’ has always loomed large, creating a spectre of follow-up expectation quite unlike any other debut.

With Frost*’s latest (and fifth) studio release ‘Life In The Wires’, Jem Godfrey and his band-mates have embraced not one, but three, massive expectations: firstly, to create another album in the stylistic vein of ‘Milliontown’; second, to release a follow-up to 2021’s ‘Day and Age’; and thirdly, to release a 90-minute concept double album (ie four sides of vinyl). A double concept album that holds its own with a classic like ‘Milliontown’, while also creating a companion to ‘Day and Age’? That is a massive undertaking indeed.

‘Life in the Wires’ features the welcome return of drummer Craig Blundell (‘Blunders’ to the band), the continued guitar and vocal services of stalwart John Mitchell (also known as ‘Connaught’), the brilliant Nathan King on bass, and Godfrey himself doing just about everything else. The fact that Godfrey performs all the lead vocals initially deterred me a little, since I am a great fan of Mitchell’s voice and the variation that it brings, but after repeated listens, it became apparent that a concept album of this nature does indeed require a consistent lead vocal sound.

Other than that, ‘Life In The Wires’ reveals an intention to feature the band at their most compositionally balanced. There are no guest appearances this time, with the core band simply doing what they do best, and a lot of it. The album is as ambitious and innovative as ‘Falling Satellites’, but it is as melodic and varied as ‘Milliontown’. It continues some themes from ‘Day and Age’ and it harkens back lyrically to ‘Experiments’. With almost 90 minutes of music over 14 tracks, this is an epic endeavor indeed.

The record is Godfrey’s personal brainchild, in which he creates a conceptual world around the story of main protagonist ‘Naio’ – a child bound for a meaningless future in an AI world until he hears and finds an ancient DJ (‘Livewire’) on an old radio. Naio begins to track the source of the signal in the hope of discovering a better future. Livewire becomes Naio’s cosmic voice of hope buried in the static. But ‘The All Seeing Eye’, a dark and evil presence, reminiscent perhaps of the supposed symbol of the Illuminati, is displeased by this, and imposes his resistance on Naio. This is dystopian and post-apocalyptic stuff indeed – and it will be right up any true Progger’s alley.

With the expectation of concept and story satisfied, it must now be observed that fans of Milliontown will love Frost*’s slick revisitation of the debut’s modus operandi. Craig Blundell has no difficulty in placing his own personal mark on the revived style of ‘Milliontown’. That style, which produced one of the most successful Prog albums ever, is to be heard in abundance on ‘Life in the Wires’. Whereas ‘Day and Age’ intentionally featured no solos, ‘Life in the Wires’ expresses a more than respectful nod to ‘Milliontown’s’ extravagance, with loads of solos and several moments that are stylistically reminiscent of the debut. We have been waiting for this from Frost*, and we are now duly satiated. Second expectation satisfied.

First track ‘Skywaving’ begins with the ending from the last track from ‘Day and Age,’ where Livewire calls out ‘Can you hear me? The scene is well and truly set, and ‘Skywaving’ proceeds to give us the perfect introduction, with just Godfrey and his keyboards elevating us in 7/8 timing. This serves as a segue into the title track which wastes no time in giving us the crazy, driving Prog that only Frost* can deliver. Propelling the catchy refrain ‘Hello, hello’. Blundell is clearly intent on showing that this band has no business making records without him. A brilliant start. ‘This House of Winter’ then presents the central motif of the album, a beautiful, tinkling Godfrey piano riff, and Melodic Prog expectations are satisfied.

‘The Solid State Orchestra’ forms the core of CD 1. It builds and develops a simple keyboard riff into an elaborate Prog statement that most certainly does have guitar and keyboard solos. Mitchell is in fine form and has no difficulty in keeping up with Godfrey’s antics. This is an outrageously fulfilling production that employs all of Godfrey’s secret tricks. His voice might have its detractors, but I for one love it, and it is beautifully utilised in this track, which is very possibly the finest song of 2024. The arrangement is complex and fulfilling, ebbing and flowing around Godfrey’s melodic lines and the stabs of the rhythm section, all anchored by King’s massive bass-lines. By now it is clear that Frost* fully intend to dominate the 2024 Prog scene with songs of this quality and consistency. Outstanding.

‘Evaporator’, slightly reminiscent of ‘Hyperventilate’, also starts with a Livewire announcement to ‘sit back and enjoy the ride’, and spacey keyboards give way to one of the hugest, chiming Prog riffs you have ever heard. Massive instrumentation, vast solos and delicate harmonies are effortlessly melded, while Mitchell delivers a brilliant Steve Vai-type solo in three parts. There is something about the chemistry of Mitchell, Blundell and King playing in cohesion with Godfrey that is just irreplaceable.

Livewire introduces us to the haunting melody of ‘Strange World’ – a simple but brilliant hook, co-written by Mitchell, that relies on Godfrey’s delicate piano work and vocals. This lilting, ethereal refrain builds in space and finally, through a chuckling Livewire, yields to the manic Metal of ‘Idiot Box’, a thumping, jagged switch-blade of a rocker that sounds like a musically-gifted hatchet-man went crazy in space. Blundell’s precision in this song is particularly notable, his jagged double-kick and snare work cutting through like a surgeon’s scalpel.

Livewire returns to introduce us to yet another astral melody in ‘Absent Friends’. Beauty personified, this track shows that Godfrey is absolutely the right vocalist for the band, right here right now. The cinematic arrangement will make you feel like you are floating in space. A graceful and enticing way to close the first CD.

So far so good on fulfilling expectations. CD 2 begins with ‘School (Introducing The All Seeing Eye)’, which, true to its title, is a menacing, granite-like composition filled with weighty and sinister riffing. No-one does suspenseful cinematic delivery quite like Jem Godfrey, especially when anchored by King’s and Blundell’s solid but innovative patterns and Mitchell’s growling guitar. The song gives way to ‘Propergander’ which is a vocal continuation of the heavy theme. With stops and starts aplenty and a huge angular Mitchell guitar, this is classic, heavy Frost* at its best. Just for good measure, the track ends with a parody of the ‘milkman’s whistle’ – a perfect juxtaposition of heaviness and humor.

At this point Livewire appears to say goodbye, and ‘Sign of Life’ ushers in one of Godfrey’s most plaintive melodies. ‘You are just a siren – nothing but a siren’ he laments. It is not the high point of the album, but it is a useful interlude to the weight of the previous tracks.

Back to quirky heaviness for ‘Moral and Consequence’. This track reminds me of the now legendary ‘Black Light Machine’ and is again slightly more than a wink to ‘Milliontown’. The track’s video features old footage of the band members’ various adventures over the years, ‘larking about and generally making merry’, as Mitchell put it. Past members Andy Edwards, Nick d’Virgilio and John Jowitt are all featured. This band is clearly as much about camaraderie, friendship, nostalgia and fun, as it is about astounding musicianship.

On to ‘Life in the Wires (Part 2)’. This is the 15-minute epic track and it will, quite simply, leave you breathless. It has everything in its expansive arrangement, and its complexity and extravagance may be described as a full tribute to ‘Milliontown’. It is a dizzying composition that shows the band at its strident, simmering best, while still containing several moments of groove and choppy catchiness. It waxes and wanes, ebbs and flows, assaults and embraces, grooves and grabs, retreats and triumphs. It will please you greatly, no matter what your Prog proclivities. In typical Frost* fashion, the track culminates not in a slow, labored ending (so often done by many other Prog bands) but rather by gaining pace into a fast, frenzied and furious keyboard climax that sounds just right. No-one writes an epic quite like Jem Godfrey, and no-one delivers it quite like Frost*. The track is a crowning moment that exhibits all that is good in Prog. Absolutely stunning.

It could have ended there, but final track ‘Staring Fires’ rounds the album up and satisfies the third expectation of delivering a concept that has a beginning, a middle and an end. I must admit that on first listen, I thought that the closing track might be redundant, after the intense journey of the epic that precedes it, but after a few listens, it made sense to me as a necessary finale to the album. It fades gently into the ether with Livewire re-appearing to ask once again: ‘Can you hear me?…..’

‘Life in the Wires’ is a bouquet of Progressive excitement and polish. It is audible that Blundell is overjoyed to be back in Frost*, and while this is to be heard in his playing, it is not just applicable to him – the same goes for all of the members. There is a palpable sense of excitement in the performances. The sound production is lovingly conferred by Godfrey, who reminds us why he is one of the World’s most highly regarded music producers. It is at the same time spacey and very full, with just the right amount of separation between the instruments and voices. It never sounds cheesy, (even in the parts with static sound-bytes) and it somehow is always pleasing to the ear. Every instrument, every nuance, every static transmission and every effect, is clearly audible, and yet the album still sounds exceedingly warm and embracing. As for the visual production, the top-drawer art work features an old AM radio created by Carl Glover of Steven Wilson fame. The sheer adventure of ‘Life in the Wires’ alone, makes it a contender for album of the year.

Jem Godfrey and his cohorts very obviously had great fun creating and delivering ‘Life in the Wires’, and this is to be heard in the music. It also goes without saying that these fine musicians clearly enjoy a challenge. Making ‘Milliontown’ must have been the feat of a lifetime, but following it (and ‘Day and Age’) up in such elaborate and complex form is also truly something remarkable. ‘Life In The Wires’ is a panoply of everything you would expect from one of the World’s premier Progressive Rock bands. It has classic Prog extravagance, wonderful melodies, King Crimson-type quirkiness, outlandish arrangements, humor, fun, spirit, cinematic scope and yes, solos – lots of wonderful solos. It is remarkable to think that this is only Frost*’s fifth studio album. They may not be the most prolific band in the world, but when they deliver, they deliver with a bang. Expectations well exceeded.

Released on October 18th, 2024 on InsideOutMusic

Order the album here: https://frost-band.lnk.to/LifeInTheWires

The full track listing is as follows:
CD1:
1. Skywaving 1:57
2. Life in the Wires, Part 1 5:30
3. This House Of Winter 6:10
4. The Solid State Orchestra 6:35
5. Evaporator 8:09
6. Strange World 5:09
7. Idiot Box 4:59
8. Absent Friends 3:58

CD2:
1. School (Introducing The All Seeing Eye) 3:12
2. Propergander 5:34
3. Sign Of Life 5:44
4. Moral And Consequence 8:13
5. Life in the Wires, Part 2 15:51
6. Starting Fires 4:40