Issue 2025-033
Esthesis — The Frame
Simultaneously constricting and numbing, society's demands can lead to a sense of alienation, the subject matter Esthesis explore in their new single, The Frame. It constitutes a metaphor for social conformity, the regimentation once conveyed by commuters on trains, invariably male, in their uniform of bowler hats and striped suits, hiding behind the pages of their broadsheets, briefcases nestling obediently at their Brogue-clad feet. In our current context of surveillance, where CCTV cameras are so ubiquitous that we are barely conscious of them, the concept of a frame seems far more apt, with its function of containing images. Reminiscent of the smartphone screen, which acts as the boundary of our vision, indeed of our very existence, holding our attention captive as we stumble mindlessly into the apocalypse.
For those familiar with their music, The Frame bears Esthesis' trademark impress, like a seal in red wax, yet gloriously reveals their full potential with the same volatile satisfaction as a drop of water in a glass of single malt.
Promo photo
Opening with a sound reminiscent of a swarm of mechanical bees, The Frame is serious but never drab or dreary, a brooding, sparsely atmospheric and darkly ethereal track characterised by pervasive melancholy, with an undercurrent of menace which occasionally erupts to the surface. Mathilde Collet's sublime backing vocals add depth and subtle colour. There is no wastage, as the song unfurls with consummate fluidity, Rémi Geyer's guitar solos hypnotically swirling, irresistibly tugging the listener into a maelstrom of unease.
Aurélien Goude's dreamlike vocals, subdued in the overall mix, articulate repressed anguish, the unheard scream of frustration of a million households absorbed by the net curtains and living room walls. Delicately ornate like the veins in a petal or the finest lace, each thread indispensable to the pattern, the individual strands of superb musicianship intertwine, as Esthesis demonstrate their complete mastery of contemporary minimalist yet richly melodic prog.
Aurélien also excels on the keys, vital to the dynamics, shifting moods and cohesion of the piece. Arnaud Nicolau's drumming is the epitome of precision, restraint and rigour, by turns building up and dissipating tension as required, perfectly complemented by Marc Anguill on bass. As the protagonist definitively decides to free themselves by stepping outside the frame, the track ends, like a switch being turned off, with a sonorous hum like that of an amplifier (echoing the sound's earlier appearance when the narrator first contemplated doing so, a telling detail in terms of the meticulous care, attention and craftsmanship which have been invested in the single).
The Frame is Esthesis' most impressive, mature and sophisticated work to date and, as such, the perfect appetite-whetter for the album. Out Of Step is scheduled for release on 3 October.
Lars Fredrik Frøislie — Gamle mester
Arriving just 23 months after his debut solo album Fire Fortellinger, Wobbler's keyboard wizard Lars Fredrik Frøislie unleashes Gamle Mester (Old Master) to the waiting world. Even though two years may seem a lengthy time span, by modern standards it is pretty quick given that the gaps between Wobbler releases has spanned up to five years, which is also the length of time since their last album Dwellers Of The Deep, although I believe they are currently working on new material. This new solo album continues along very similar lines to the debut, so if you liked that one then it is pretty much a sure thing that this one will also appeal.
Frøislie plays the full range of prog-associated vintage keyboards; this is very much an old-school prog of the analogue era, and all the better for it (which seemingly justifies me being called an old fogey!). Other than keyboards the only instruments are bass, once again played by Nikolai Hængsle (from Needlepoint and Elephant9) and flute, ably handled by Ketil Einarsen (from Motorpsycho and White Willow, amongst others). It has to be said that I think the addition of the latter instrument provides some of the highlights of the album, although there are no fears of any Jethro Tull comparisons.
This is no more evident than on the jaunty opening instrumental Demring (Dawn) where the three musicians combine in a wholly uplifting jaunt across the scales. The combinations of keyboards used is perfect and the interplay with the flute shines a light towards the earliest day of Camel. The piece is re-interpreted on the closing track Skumring (Dusk) but on keyboards alone (well there are some cymbals and the odd drum!), and is distinctly mellower, although there is a wonderful dynamism in the heavier middle section. It is impossible to say which of the two holds favour as although similar in terms of the central melodic motif, the texture is very diverse.
At no point in the album does one miss the presence of a guitar player, in fact I can't see where a guitarist would fit in, a testament to the skill and musicianship of the writer. Vocals are introduced on second track Jakten på det Kalydonske villsvin (The Hunt for the Calydonian Boar). Frøislie has a pleasant voice, better than a lot of lead vocalists on many a CD we receive at DPRP, and it is appropriate that he sings in his native tongue given that a lot of the album's inspiration if from Norwegian literature and folklore. Indeed, the album's title is taken from an ancient oak tree found at Krødsherad Prestegård which was also the inspiration for a poem by the 19th century Norwegian poet, folklorist and bishop Jørgen Moe. Listen out for little touches in this track that add to the dynamics of the song; some quite eighties synths, a dash of Mellotron and, in particular, a (faux) harpsichord that pops up every now and again.
The title track is rather different and could almost be a theme tune or, dare I say it, single! Well, the first 90 seconds might make you think that but thereafter things are back to a more proggy vein with a gently meandering organ solo that ramps up to an incredible display of keyboard monstrosity, including a (possibly unintentional) lift of a bar or two from The Lamb Lies Down On Broadway album. The drumming is also excellent on this piece and on the intro to the next track Medusas flåte (The Raft of Medusa) which is potentially the most exciting opening to a prog song this year. The second vocal track, and one that will have those of you unable to speak Norwegian humming along to the melody. The pinnacle of the song is a marvellous Hammond organ solo, something that really floats my boat (or should I say raft?).
The centrepiece of the album is De tre gratier (The Three Graces) who, as all students of Greek mythology will know, are the daughters of Zeus and symbolise beauty, charm and grace. The song can largely be considered a continuation of Medusas flåte, the musical and vocal style having many points of concordance. I can do no better than quote the description given in the press release for that album: "This opus encapsulates everything that makes Gamle mester a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion and virtuosic bass work." The one thing they neglected to mention is the vocal melodies and harmonies which are perfect.
I don't know what they are putting in the water up in Norway, but it is having an amazing effect on the prog musicians there. Last week I was compelled to give the latest album by Bjørn Riis a perfect score and it would be most unjust if I didn't do the same for Lars Fredrik Frøislie. Wobbler will have to come up with something spectacular to match their keyboard player's solo output.
Glass Hammer — Rogue
Glass Hammer have evolved into a solo project for bassist, keyboardist, vocalist and songwriter Steve Babb. He brings along a number of multi-national guests to flesh out and revitalise his vision, and the result is Glass Hammer's new concept album Rogue. The concept is of a man's journey at the end of his life. He leaves everything behind and ends up somewhere unexpected. But given the band's well-known subtle Christian messaging, he ends where is you would expect.
Glass Hammer are a band I have been meaning to catch up with, and it has taken until their 22nd studio album for me to get to it. A great number of those 22 albums plus various live outings can be found at DPRP.net's search function. Which get various levels of positive recommendations.
The new album Rogue seems to have an 80s synth pop-prog with the sort of material you would find on mid 80's albums by Yes (Tormato, 90125, Big Generator) and Genesis (Abacab, Genesis, Invisible Touch) where you get commercial poppy melodies given a lazy prog sheen that is unconvincing to long-term prog aficionados. The songs on Rogue have that 80s synth sheen and commercial, hummable but ultimately bland and inoffensive melodies.
The songs are well played, as you would expect, and each of the songs features some instrumental features and colours that give them a boost but unfortunately it is never really enough to make me want to listen to them over and over. There is lovely use of lap steel guitar from Oliver Day and Fred Schendel (see Sunshine, The Road South) and some exemplary synth soloing from Steve Babb and Ariel Perchuck. The latter featuring heavily on the last two tracks (the best two tracks here and the only ones I didn't mind listening too on repeat. The long instrumental section (8 mins out of 10) on Terminal Lucidity with its dark synths sounds and reverberant electric piano has some intensity too, an intensity that is sadly lacking from the majority of the material here.
I put this album on to fairly hard rotation in case I was missing something, but it never did anything than make me exclaim "oh come on!" in the main. The songs here range from the dull to the outright bland and back again. If you like AOR prog that is inoffensive but empty, then Rogue might be for you. However, I don't think I'm going to ever explore Glass Hammer's extensive back catalogue on the evidence of this.
JPL — Post Scriptum
JPL is the abbreviation for Jean Pierre Louveton. The musician from France that made his name in progressive rock with his band Nemo. From 2002 when Nemo started recording albums Jean Pierre also started releasing solo albums using the name JPL. On a regular basis he released an album with Nemo, until 2015, which is when we last saw a new album by Nemo: Coma. They did some rerecording of their first albums, I really enjoyed Les Nouveaux Mondes. Just as regularly Jean Pierre released a solo album using the name JPL and Post Scriptum is his twelfth solo release.
Here, Jean Pierre is joined by Stéphanie Vouillot on piano, on this album no appearance by Nemo keyboard player Guillaume Fontaine. On vocals, Elise Bourg, who will also be joining JPL on stage. The drum duties are shared by Florent Ville and Jean Baptiste Itier (Nemo). Post Scriptum delivers music that we expect with a new release from JPL. Progressive rock with French vocals, melodies by guitar and keyboard all glued together in interesting compositions. Compared to the Nemo sound, JPL is just a bit more guitar-oriented. But just a notch, a thing that is in the Nemo sound but not in JPL are the really thick keyboard layers.
If you have not heard of JPL before, then opener Solitaire immediately shows what it is all about. During the first half of the song it is all building up and then all melodies, chords and instruments intertwine into a great symphonic/progressive rock song. Thankfully you do not have to be a fan of French chansons to enjoy the music of Jean Pierre Louveton. Jekyll starts of easy and swaying but the second part is a lot more intense. The song (à l'évidence) Je Me Rends shows to me that JPL approaches his solo albums more with the guitar in mind. I doubt if in Nemo a song could start with a guitar part like on (à l'évidence) Je Me Rends, it is minimalistic, but I like it. The guitar hook stays with L'Homme Est Un Animal Sauvage but more heavy rock stuff.
After Puzzle and Les Fantômes you will have listened to six excellent progressive rock songs. It is amazing how Jean Pierre Louveton keeps coming up with all these great progressive rock songs. Do not expect something new, Jean Pierre keeps going where he left off with Nemo and JPL albums. The album ends with the mostly instrumental title track Post Scriptum and this one is really all over the place. The first six songs on this album you can just put on and enjoy while driving in your car or while working or just sitting on the couch. When Post Scriptum is up on the playlist it just automatically demands you to stop what you are doing and really listen to what is going on in this track. There is a lot going on, starting heavy moving to some jazzy jamming stuff on towards slow heavy pounding rock and as always Jean Pierre glued it nicely together.
If you like the music of Nemo and JPL then Post Scriptum is a no-brainer, a great addition to the discography of Jean Pierre Louveton. The first six songs are typical JPL songs, instantly likeable. The song Post Scriptum for some reason needs some more attention. Post Scriptum is a term usually used as closure but I do not hope this is the case for Jean Pierre Louveton.
Lucid Dream — A Peaceful Death
When five years ago Lucid Dream released The Great Dance Of The Spirit, I was under the impression it marked the third and final chapter in their spiritual concept based on "the search for the subtle energetic dimensions of the Great Spirit". The independent and neatly packaged release of A Peaceful Death, their fifth, makes me question this. Not just through title, lyrical context, and its expressive artwork. But also through the included composition The Eleventh Illusion (acoustic reprise) which revisits the eponymous title track of the album that started the trilogy in 2013.
Be as it may. The one important impression truly lasting at the end of the day is that bandleader Simone Terigi (guitar, compositions) together with his bandmates Roberto Tiranti (bass, vocals), Karl Faraci (vocals), Paolo Tixi (drums), and Luca Scherani (keyboards) has delivered an excellent appealing album with A Peaceful Death.
In likeness to The Great Dance..., A Peaceful Death is off to a great start with Dawn Of A New World. Energetic in design and dynamically driven on with 70s heavy rock melodies reminiscent of epic Iron Maiden and Celtic Thin Lizzy. The composition shifts through various arrangements, and through the interplay and vocal performances, recalls the prog metal sound of Dreamscape.
The ballad Out Of Time maintains momentum with guitar work and a combination of organ and saxophone by Paolo Firpo, evoking Pink Floyd in its closing minutes. Heroes Of Light follows with a Rush-style overture and melodies that blend folk influences, reminiscent of Mike Oldfield and early Ayreon. Then Lucid Dream shifts direction.
Ruins, Broken Hope, and Shadows On My Shoulder form a trio of (soft)rock songs focused on melody. They feature harmony and refined playing, enhanced by melancholic guitar. The stirring beauty of Broken Hope being the standout track here thanks to the passionate vocals of Sefora Firenze.
These tracks, along with The Eleventh Illusion (acoustic reprise) and the beauty that is Wheel Of Karma, make A Peaceful Death a fairly mellow album. Which in many ways corresponds to the concept of "The Big Sleep", as a departed friend liked to call it. The perfect flow from start to finish, as well as the two outstanding remaining compositions, make sure that I never actually reach this level of drowsiness.
In transcending order of favouritism enjoyability this starts with Father. A powerful composition that beautifully transitions from darker Queensrÿche hard-rock into prog-metal, complemented by complex arrangements. It goes on to brightly develop into uplifting violin and exciting guitar progressions that finalise the song in high spirits. Open Cages deserves a reserved spot on my afterlife playlist. Featuring Andrea Cardinale (violin), Rachele Rebaudengo (cello), and Sara Calabria (viola), the song builds an acoustic symphonic framework. I especially like the beautiful acoustically growing symphonic framework of this song. It evokes Canadian band Lynx and Kansas in its bridge of cello and violin.
Lucid Dream shows growth with A Peaceful Death. Through adventurous songwriting, complemented by powerful performances and a clear production that shows depth in sound, they have created an excellent coherent experience that is perfectly enjoyable from start to finish. A worthwhile effort for progressive melodic rock fans to explore and enjoy. One that makes me look forward again on what Lucid Dream will dream up for their next work. If it is even slightly in line with the two magnificent songs I mentioned last, I would die a happy man.
Slug Comparison — A Battle To The End Fought On The Edge Of A Knife
Last year Canadian crossover favourites Fen surprised me with the unexpected release of their final album, Dear Mouse. Less than 12 months later and lead singer/guitarist Doug Harrison brings more treats to my stereo with the third album from his gastropod-entitled side project.
Back in 2014 I wrote enthusiastic words about Slug Comparison's self-titled debut. The same reaction was given to the follow-up, When You Were Living Here that was released in 2019.
This time Harrison handles all of the songwriting plus vocals, guitar, bass and programming. He is ably supported by Flavio Cirillo on drums.
Although the tracks tend to clock-in around the four to five-minute mark, that somewhat belies the complexity and different shades contained within. In no way "progressive" in the traditional sense, there is a depth to each composition, and a variation in styles across the album, that rewards careful listening.
It's an unpredictable adventure, where Harrison's progressive and alternative inclinations bend to allow some dark rock, punk and even a bit of reggae to shine through. The emphasis this time is on the lyrics, with the songsmith taking the opportunity to reflect on where his life has gone and where it might be going; often with a tongue-in-cheek play-on-words.
Wish To Adapt is a strong opener. Other favourites are Game of Repression and Metal Roots Came Twisting, where a reggae beat twists into a reflection on Doug's heavy metal inspirations. Played for a Centipede and Hamsters in a Tub are Marmite songs (you either love them or loathe them). I'm getting to like the quirks of the Hamster song. The centipede is less endearing.
This album is available in digital and CD versions through the Slug Comparison Bandcamp page. Whilst you are there, have a look for the Fen Bandcamp page where you can grab all five Fen albums for a very generous 23USD.