Frost*’s upcoming album, Day and Age, showed up in the DropBox this past weekend, and considering their last one, Falling Satellites, was one of my top 5 of 2016, I immediately plugged it into the USB port of my home stereo. After eight consecutive listens and picking my jaw up off the floor, I have to state up front that Day and Age is Jem Godfrey, John Mitchell, and Nathan King’s finest achievement. Ever.
The album opens with the title track, and it is a galloping monster straight out of the gate. A young boy tells the listener to “enjoy yourselves, you scum!”, a relentless beat is established, and one of the most addictive keyboard/guitar riffs ever recorded takes charge. I think Frost* must have been listening to a lot of Synchronicity-era Police before writing this song, because it reminds me of that massive, tense, steamroller of a song, “Synchronicity II”. It is a masterpiece of controlled chaos that builds inexorably for nearly 12 minutes. There’s even a little ska-like section at the 5:33 mark that makes the Police invocation explicit. However, in a battle of the bands, Frost* would beat the pants off Messrs. Sumner, Copeland, and Summers. This is an incredible track, and after I heard it for the first time, I wondered if the rest of the album could possibly hit the high bar it set.
I need not have worried, as every song on Day and Age is equally strong. There is not a single clunker on the album. I don’t what lit a fire under John Mitchell, but his vocals have never sounded more impassioned (and he’s sung quite a few songs with a lot of passion!). The core of the group is Jem Godfrey (keyboards, vocals), John Mitchell (guitars, bass, vocals), and Nathan King (bass, keyboards, vocals). They have enlisted the talents of three different drummers – Pat Mastelotto, Darby Todd, and Kaz Rodriguez – and each one provides perfect support depending on the needs of the song.
“Terrestrial” is the first single, and it is a great choice – melodic, energetic, and leaving the listener wanting more:
“Waiting for the Lie” is a keyboard-based ballad that provides a nice respite from the fast-paced previous tracks. It features a beautiful melody that is allowed to shine through a no-frills production. “The Boy Who Stood Still” is a spoken-word allegory about a boy who, you guessed it, stood still. So still, that he disappeared. The narrator tells the tale over an infectious bed of ’80s – era synths and skittering drums. It sounds weird, but it is oddly attractive.
“Island Life” begins with some waves on the beach as washes of synths and some arpeggiated guitar (there’s that classic Police vibe again!) as Mitchell sings of escaping a dreary life and “living in this island life”. “Skywards” is my second-favorite song (after the title track), with some especially beautiful chord progressions in the melody. You think you know where it’s going, and it takes an unexpected turn and ends up even better than you anticipated.
Wait, did I say “Skywards” was my second-favorite song? I actually meant “Killing the Orchestra”! An electric piano and delicate vocals introduce this one, and it gradually builds into a mini-symphony that includes Mitchell’s best guitar solo of the album. It is nine and half minutes of musical bliss that segues immediately into the closing track, “Repeat to Fade”, that reprises some of the themes from the title track. This is a terrifically dense and claustrophobic track that features Mitchell hollering, “Enjoy yourselves, you scum!” Sounds oppressive, I know, except that the melody is very uplifting and makes the dark atmosphere bearable.
Nathan King recalls the writing and recording of “Repeat to Fade”: “We were 30 feet by the sea, next to a nuclear power station and a lighthouse, in midwinter! …in my head you can absolutely hear the bleak isolated oppression having an effect on us.”
The recording conditions may not have been ideal, but Jem, Nathan, and John have managed to produce a pop/prog masterpiece of an album from them. I’ve listened to it a dozen times now, and I find new delights every time.
Day and Age will be released on May 14, 2021 on InsideOut Music. You can preorder it here: https://frost-band.lnk.to/DayAndAge
2 thoughts on “Frost* Heats Up”
I’ve had the privilege of hearing this one as well. The Police comparison is absolutely apt; when I interviewed John Mitchell last year, he mentioned that they are “hands down, my favorite band of all time.” I hear some ABACAB-era Genesis, with the slow unfolding of songs over bass drones and sprinting drums.
There are some obvious and not so obvious changes in the Frost* sound on this one: less of a brickwall coming at you, more space for textures that ebb and flow. It’s taking multiple listens to wrap my head around, but so far I’m feeling like it’s worth it!
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I hear the ABACAB groove, now that you mention it. And I’m glad John Mitchell is having more input to Frost*’s sound – he’s become one of my favorite songwriters/performers.
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