Frost* release their fourth studio album Day And Age on May 14 2021. The follow-up to their 2016 album Falling Satellites, Day And Age is available as a limited 2 CD version and a 2 LP / CD edition, as well as a digital release.
Now built around the trio of Jem Godfrey, Nathan King and John Mitchell with guest drummers Kaz Rodriguez, Darby Todd and Pat Mastelotto, the new Frost* album has a feeling of dread and paranoia running through its veins. Day And Age feels very much of it’s time, without referencing current events directly.
Opening with the title track, which thunders along at pace, almost like a proggier Synchronicity era The Police powered by John Bonham. The middle section, with its chilling soundscapes and metal leanings, is a delight to listen to, especially on headphones.
“We’re living in a day and age, when the writings on the wall”
Terrestrial lifts the mood somewhat, with a brighter production, and glitchy keyboard motifs. The percussion styles vary from song to song on this album, so having three very different players was a good decision that has paid dividends. The arrangement is very intelligent on Terrestrial, with one of the albums most compelling songs underpinned by layers that reveal themselves on subsequent listens.
Waiting For The Lie was one of my early favourites. The piano, electronics and vocal led song is very dark and bleak, with the rhythm initially coming from synths and a deep bass drum until the song opens up around the half-way mark. The vocal performance is stellar.
“These are the games that we play”
I won’t give away too many spoilers for The Boy Who Stood Still, as it is a song that works best with few preconceptions, and you will be able to hear for yourself in May, but the track is musically very playful, suiting the subject matter of the very unique lyrics perfectly.
“In the long shadows of the day, he would stand, year after year, watching….”
The first half is very electronic, before morphing into a powerful, more traditional arrangement with very insistent guitar and keyboard lines, and an ending that reminded me of the percussive power utilised by Level 42 in Hot Water (spot the connection, pop-pickers). After about three complete listens to the album, The Boy Who Stood Still has become my favourite song on the album.
Island Life channels The Police (I hear their influence a lot in Frost*, is it just me?), Kevin Gilbert, the late Alan Murphy and Mansun and will surely be the next single from Day And Age. The song is so catchy, its criminal. With more twists and turns than should be allowed in a a four minute song, Island Life acts as a palate cleanser for the darkness that informs the rest of the album.
Skywards is a perfect example of the thoughtful arrangements and production. Percussion breaks drop when least expected, and time signatures shift without jarring the flow. The drum sound is a star on Day And Age, and this is surely an album built to be played LOUD.
Photo by Carl Glover
The second longest track is next, and Kill The Orchestra opens with a 10cc like arrangement (from the Godley & Creme years). Another brutal lyric and a slow building performance that makes the hairs stand on end.
“I’ll be singing when they string you up”
This is a track that took a couple of listens to fully reveal it’s charms, and I would not be surprised if Kill The Orchestra becomes a favourite for a lot of fans. The heavier parts on Day And Age are more restrained and used more sparingly than elsewhere in the Frost* catalogue, and this makes them all the more powerful when they are put to use. The Gilmouresque guitar line at the end is short but sweet, and I love the way it fades into an emotional keyboard riff that hits hard. The lyrical violence cuts deep on this one.
Day And Age closer Repeat To Fade seems to continue and build on the story of Kill The Orchestra, with an Army Of Me (Björk) on steriods drum pattern added to the mix. Production touches such as layered, buried voices and sonar beeps give way to static as the song comes to an abrupt end, with the chorus still ringing in your ears.
“There’s only one way out, repeat to fade”
More so than previous Frost* albums, Day And Age feels very consistent lyrically and musically, with a well thought-out flow to keep your interest piqued throughout the 54 minutes running time. The album also contains two of the strongest new songs I have heard so far in 2021, in The Boy Who Stood Still and Kill The Orchestra. Its still early days, but this might turn out to be my favourite Frost* album to date. I can’t wait for you to hear it.
Available as: Ltd. 2CD Edition / Gatefold 2LP+CD / Digital Album
Day And Age (11:49) Terrestrial (05:13) Waiting For The Lie (04:31) The Boy Who Stood Still (07:33) Island Life (04:14) Skywards (04:13) Kill The Orchestra (09:27) Repeat To Fade (06:14)
Jem Godfrey – Keyboards, Railboard, vocals Nathan King – Bass, keyboards, vocals John Mitchell – Guitars, bass, vocals With guest musicians: Kaz Rodriguez – Drums Darby Todd – Drums Pat Mastelotto – Drums
Big Big Train are releasing their 2009 album The Underfall Yard for the first time on vinyl, as a triple 180g LP in a trifold cover. The set is made up of the original album over 2 LPs with a further album containing 48 minutes of material, including a 2020 studio re-recording of the title track preceded by a previously unreleased brass prelude, and a new song Brew And Burgh.
The Underfall Yard (Remixed and Remastered) is also available as a double CD.
The Underfall Yard was the first Big Big Train album to feature David Longdon on vocals and also the first to feature Nick D’Virgilio as the band’s drummer. Former XTC guitarist Dave Gregory appears on most tracks, along with Francis Dunnery (It Bites) and Jem Godfrey (Frost*) on the title track. The 2020 version of The Underfall Yard is a remix as well as remaster, so is the definitive version of one of the most popular releases from the band.
One of the main upgrades in sound is the separation and space offered in this mix. This is particularly noticeable on the album opener, Evening Star. The choral, wall of sound vocals are so much richer, and when the brass makes it’s first entrance half-way through, it really hits the mark. I’m reviewing this from a digital stream, which sounds amazing but I cannot wait to hear this on vinyl at the end of April.
David Longdon’s stunning vocal arrangements on Master James of St George are really noticeable on this remix / remaster, and the powerful instrumental sections, often underpinned by deep bass notes, fly out of the headphones / speakers.
“But lines get broken Lines get broken down”
Victorian Brickwork is one of my favourite Big Big Train songs, and is all the more heart-breaking when you read the story behind the lyrics in the updated interview with Greg Spawton conducted by Dave Bowler on the band’s UnderFall Yard micro-site.
“Call up the boys, call them now Time to bring them home They will call if they want to”
Last Train is the story of the last day at work for a 1930’s station master, and almost feels like a template for some of the music the band has released since this album.
Winchester Diver has a notable upgrade, with the opening synth line replaced by trumpet in the 2020 mix. The mellotron and flute also sound so warm in this 2020 restoration. I have always loved the album, but believe me, you will be blown away when you hear how it sounds now. It’s like upgrading from a Crosley record deck to a Linn!
The quiet section, with Winchester bells, at around the 4 minute mark also has such depth and clarity.
The 23 minute title track, the final track on the album proper, is a joy to listen to. Greg Spawton’s paean to Victorian engineers is a career highlight. Each individual passage, riff and motif flows beautifully from the one before, never out-staying it’s welcome.
“Using just available light He could still see far”
Just hearing the main album remixed and remastered would justify the purchase of this new version of the album, but the additional tracks are not mere add-on’s, they work well on their own. Sensibly, they are separate from the main album, so you can enjoy the original concept and flow that you already love.
Songs From The Shoreline features a new 2020 recording of Victorian Brickwork married to Fat Billy Shouts Mine (from Far Skies Deep Time), as well as a new version of the title track. Both versions are studio versions that are informed by the live performances from recent years, along with an additional piece, the brass Prelude To The Underfall Yard. I’ve said it before, and I’ll say it again, brass bands were often used as part of the early 70s musical palette and they have dropped off the radar since, which is a real loss. The sound and feeling evoked can take me back to another time and place, and as someone who spent 5 years living in Yorkshire in my formative years, hearing Prelude To The Underfall Yard is an incredibly moving experience.
The album ends with a new song, written specifically for this reissue. Brew And Burgh is a moving tale (referencing lots of earlier Big Big Train songs – Big Big Train bingo if you will!) of friendship and companionship. A warning, the video may make your eyes rain.
So as a final thought, if you already own The Underfall Yard and are thinking, should I buy the album again? My answer would be a hearty yes. It is such an improvement that you will find yourselves falling in love with the album all over again.
The Underfall Yard Remixed and Remastered Evening Star Master James of St George Victorian Brickwork Last Train Winchester Diver The Underfall Yard Additional Tracks Songs From The Shoreline: (i) Victorian Brickwork (2020 Version) (ii) Fat Billy Shouts Mine Prelude To The Underfall Yard The Underfall Yard (2020 Version) Brew And Burgh
Frost* are releasing 13 Winters, a Limited Edition Deluxe 8-disc Artbook that contains remastered (and for Experiments In Mass Appeal a remix/remaster) of their three studio albums, plus the previously digital only Others EP, two live albums, the instrumental version of Falling Satellites, a rarities disc along with an artbook.
Frost* were formed in 2004 by Jem Godfrey, who was known for creating chart-topping hits for acts including Atomic Kitten, Shayne Ward and Holly Valance. Godfrey teamed up with John Mitchell (Lonely Robot, Kino, Arena, It Bites…) and other musicians to explore his earlier roots in progressive rock. Whilst modern progressive rock is at the forefront of Frost*, the songs also expose Godfrey’s pop skills, with strong melodies and hooks.
The Milliontown remaster is a subtle upgrade, with better separation and clarity, making the quieter parts more powerful but the heavy patches hit you hard with their renewed energy. This presents the album in its best light, and it is a pleasure rediscovering the band’s debut album. From the slow-building progressive-pop of Hyperventilate, that sets an early blueprint for the breadth of Frost*’s vision, to one of my favourite songs, the warm and nostalgic Snowman.
Black Light Machine highlights the power of this new remaster, and the closing song, the epic Milliontown, sounds stunning.
Whilst not a favourite of Jem Godfrey, I love the band’s second album, 2008’s Experiments In Mass Appeal. It does have more of an alt-rock feel than its predecessor, and is certainly more guitar based, but the pop sensibility remains. The version of Experiments In Mass Appeal in this boxset is a 2020 remix as well as a remaster.
Along with the rock tracks, such as the title track and Pocket Sun, the album delivers some touching slower paced, more melancholic pieces. My favourite of these is Saline. At times reduced to just a solo piano line, this is one of the most stripped back but hard-hitting tracks the band have ever released. When the strings kick in towards the end, you realise that Saline is such a powerful and emotional statement.
“And I don’t know if I can survive the feeling Losing all that’s mine”
Falling Down is another personal favourite, and has remained so since its release back in 2008. Andy Edwards contributes some great drum patterns on this intelligent arrangement, as it shifts from light to dark moods. Toys reminds me of mid-period Mansun, and is stuffed to the brim with hook after hook. The Secret Song (aka the hidden track on Wonderland) is a fine way to end the album.
“And I’ll be fine Don’t worry Remember me…”
2016’s Falling Satellites is available as the full album plus an instrumental version in the 13 Winters boxset. The album features the mighty Craig Blundell on drums, who leaves his mark early on with Numbers and a song that reminds me of The Police in the verses, Signs. There is a strong feeling of consistency throughout Falling Satellites, which comes across as a real band album, and benefits from a subtle and sympathetic remaster.
Towerblock is a song of change and rebuilding, and the loss of the physical places where some of our memories live. A glitchy, stuttering production full of found sounds makes this track unique in the bands catalogue.
“(They’re all gone gone gone gone gone gone) The height lines on my bedroom door (They’re all gone gone gone gone gone gone) My soldiers hiding under the floor”
Lights Out is another quality mid-tempo pop piece, and freshens the palette mid-way through the album.
Closer To The Sun is a late-night chillout track, with mesmerising percussion work, that mutates mid-song, featuring a solo from Joe Satriani as the arrangement becomes more progressive. Mix those genres Frost*! Which is something they do to even more dramatic effect on The Raging Against The Dying Of The Light Blues in 7/8, which starts off like a modern take on the blues genre before shape-shifting into a completely different beast as the song twists and changes.
The album ends with the short and sparse Last Day.
“Handprints in old concrete Ghosts we leave behind”
Falling Satellive is the Falling Satellites album (minus opening track First Day) in a live performance with the same line-up as the studio album. The live version of Numbers gives off strong Synchronicity 1 (The Police) vibes. The album is a recording of the band’s gig at Dingwalls, London, in November 2017.
Shorn of a lot of the studio production effects, the songs work well live, with a heightened sense of energy and purpose. Lights Out and especially Closer To The Sun work well in a live environment. Be prepared for an interloper at the end of the final track, by the way. Don’t say I didn’t warn you.
The second live album, The Philadelphia Experiment, was recorded in 2009 and features a different line-up, including Dec Burke, Nick D’Virgilio and John Jowitt. It features one of the best humorous uses of intro music I have heard, and a solid set from the first two studio albums, including a live-looping Snowman and an electrifying Milliontown.
13 Winters features the first physical release for the Others EP from earlier in 2020. Featuring a stripped back line up of Jem Godfrey and drummers Craig Blundell / Andy Edwards, Clouda features wonderful harmonies and Exhibit A pushes the tempo to extremes.
Fathom is an orchestral piece, whilst Eat is a sample driven song, like Art of Noise on steroids. Drown pumps up the electronics and I look forward to hearing more songs that deviate from expectations from Frost* in the near future (a new album is being written and recorded at the moment).
The final disc is This And That – B-Sides And Rarities. Opening with one of the most ambitious Frost* songs, The Dividing Line is a 16 minute plus track that alternates between Goldfrapp-esque glamrock, quasi-classical / music-box breakdowns and some of the wildest riffage in the bands catalogue. The song is all over the place stylistically, it doesn’t follow the rules and shouldn’t really work, but the absolutely manic joy in the performance captures your attention and is a highlight of this set. The Dividing Line is certainly not for the faint-hearted!
British Wintertime is the strongest song on this disc and one of my favourite Frost* songs – a delicate, emotive goodbye. I never tire of this song, its one I often put on repeat. A beautiful, mesmerising piece of music.
There are four songs in demo form on this disc that offer a preview of how the finished studio tracks developed. The Towerblock demo is mostly found sounds, smashing and crashing over a skeletal arrangement. The demo of Closer To The Sun is interesting to hear, as it is even more electronic than the final version. A short demo take of Last Day is the final vocal track on the This And That – B-Sides And Rarities disc. The instrumental soundscapes of Hyperventilate Hypoventilate Paulstretch Test closes the collection, with its dreamlike waves of stretched sound.
Frost* 13 Winters is a quick and easy way to get hold of the band’s back catalogue, and the albums all sound better than they ever have (not that they originally sounded bad!). The set also includes an artbook containing images from the cover-art shots, an honest / self-critical interview with Jem Godfrey and album notes, including lyrics for the studio albums.
Mr Kinski's Music Shack 