Issue 2024-074
A new Frost* album has become something to look forward to ever since their debut album Milliontown in 2006. Welcoming their fifth album in 18 years, it is also not something that is happening very often, making the occasion more special.
DPRP's Patrick McAfee got the chance to talk to Jem Godfrey, the mind behind Frost*!
Interview with Jem Godfrey
Patrick McAfee
Jem, thank you for again taking the time to answer some questions for DPRP and congratulations on the release of the outstanding new Frost* album, Life In The Wires.
Hi Patrick, thank you very much and you're welcome!
It is incredible to think that it has been over eighteen years since the release of the magnificent debut Frost* album, Milliontown. Does it ever surprise you that this venture, which began as sort of a lark, has now been going strong for close to two decades?
Totally! Especially as it really did begin as a sort of a lark. I know we had that big 8-year gap in between Experiments In Mass Appeal and Falling Satellites, but the urge to do more Frost* music was still there, I just didn't have enough hours in the day at that point.
Though it begins with the same static sounds that ended the previous Frost* release Day and Age, Life In The Wires is a substantially different album. As an example, the no-soloing policy that in large part shaped the last two Frost* albums, has been replaced by a no-holds-barred virtuosity here that will bring a smile to any fan of Milliontown. There are elements of every Frost* album to be found here. What drove the decision to go full circle and re-visit the adventurousness of the debut album?
We always try and do something different to what we've done before, to greater or lesser degrees of success. This time I felt that we were overdue a return to a few things rather than avoiding them. Soloing, for example. As you mentioned, we haven't done an album with any proper solos since Falling Satellites, which was 8 years ago now. That's nearly a decade of abstention! I think with the return to more involved instrumental music on this album, there was always a chance it might sound a bit like Milliontown in some places, and it was good fun to go back to that version of us again.
(promo photo by Will Ireland)
Following in the tradition of many great prog bands, Life In The Wires is a double album. That can be a risky undertaking, but this album absolutely sustains its length with a strong concept and compelling material from start to finish. As I state in my review of the album, it ranks up there with the great long playing records in the history of the prog genre. Do you have any favorite prog double albums that inspired your musical upbringing?
Wow! That's an amazing thing to say, thank you very much indeed! Well, The Lamb Lies Down On Broadway is probably the obvious one. Tommy by The Who is one I came to later on. I like the dark humour on that album which I tried to get a little bit of in on Life In The Wires. Prog seems to have forgotten humour a bit lately. It's all gone a bit scowl-y.
The performances throughout Life in the Wires are excellent, and the musical diversity of the material is off the charts. Fans of the band are going to love it. Though there were some lineup changes early on in Frost*, you, guitarist John Mitchell, bassist Nathan King and drummer Craig Blundell make up what is generally considered the "classic" line up of the band. Do you ever pinch yourself with how things fell into place for Frost* to consist of such an incredible line-up of musicians?
I'm more amazed that they've stuck around to be honest! I think it has something to do with paying their invoices quickly. 😉
I've had the opportunity to interview Chris Braide a few times in recent years. I mentioned to him how from the perspective of a fan, it seems clear that you and he brought a much-needed, fresh and modern sensibility into the prog genre. You both grew up as fans of prog and entered the genre in the 2000s as successful writers and producers in the pop world. I compare what you injected into the genre as similar to someone like Trevor Horn in the 80s. Did you feel any sense of that when creating Milliontown? And when you create, do you strive in any way to keep the prog genre from becoming stagnant?
I've always had a lot of love for the New Wave version of King Crimson; the Bruford / Fripp / Levin / Belew version. Conceptually, I think it's wonderful. For me, they were a big part of the Frost* “manifesto”, for want of a better word, even though we don't sound like that. It all taps into the thing I've been most influenced by, which is to take the existing version of a genre and ask questions of it rather than just accepting the “this is how we've always done it” mentality.
Ironically though, by doing that, Frost* has ultimately failed. We've become institutionalised because we've settled into a pastiche of innovation now rather than genuinely being innovative because nothing really changes any more with the interpersonal dynamic. What would be truly innovative at this point would be to reboot the whole thing and start again with a different line-up.
(promo photo by Will Ireland)
The concept of Life In The Wires takes place in a future AI-run world. AI is a topic of much consternation in the music world these days. Do you see AI as an opportunity or risk to music?
I think it has its uses for sure. For example, it's very handy on Amazon when it goes through all the reviews and creates a summary of the product in use. It saves me having to wade through pages and pages of people saying contradicting things.
I think in music it will find a place for a while that may undermine real musicians' ability to make a living. Allegedly Spotify has AI generated music available on the platform that it collects royalties for so it's paying itself effectively on music generated by the combined analysis of real musicians' compositions. That seems fairly depressing. I suspect that this will further send musicians onto the stage where you can't be AI'd. Assuming there are any venues left to play in of course!
I remain hopeful though. To paraphrase Jeff Goldblum in Jurassic Park, “Art will find a way”.
There have been times in the past where the future of Frost* was in question. You recently stated that Life In The Wires ends the current contract with the InsideOut record label and that there is something to be said for the band going out on this high note. Allow me as a fan to selfishly say that it would be a shame if that turns out to be true. This great band that you created has been a high mark of the genre in the last two decades. As it stands now, do you see a future for Frost*?
Yes and no. I feel that the circle has been closed, in a way, with Life In The Wires. My current state of mind is where do we go after this? Another double album? A quadruple album? I don't think anybody has an appetite for that! So, is it back to a single, non-concept album? And if we do that, will people say “It's not Life In The Wires” and be disappointed? It feels in hindsight that I might have written the band into a corner with this new album.
Genesis had to have a line-up change after their big double album statement which enabled them to move to a new place creatively. Maybe I need to shake it up a bit. Or perhaps it's a good note to go out on. My mum used to say that the art of a good party is knowing when to leave, before the drunken arguments break out!
Wise words... Thank you again Jem! I wish you and the band significant success with Life In The Wires. It is a monumental work and an instant benchmark in the modern progressive rock scene. Absolute kudos to you, John, Nathan and Craig for creating this incredible album!
Thank you, Patrick! Great questions, and thank you for such lovely positivity about the album! It's very much appreciated sir!
Frost* — Life In The Wires
CD 2: School (Introducing The All Seeing Eye) (3:12), Propergander (5:34), Sign Of Life (5:43), Moral And Consequence (8:13), Life In The Wires, Part 2 (15:51), Starting Fires (4:45)
Frost* is a band that continually challenge themselves. Whether it be switching lead vocalists, adjusting their musical style or enacting a no soloing policy, their albums have never been predictable. Life In The Wires continues that strategy, while also taking some effectively nostalgic turns. Creating a double album that avoids the pitfalls of that medium is no small task and yet, they accomplish that here in grand fashion. This is a prog rock concept album of the highest order.
Key to the success of any endeavor of this kind is that both the story and musical flow remain compelling throughout. Those requirements, and many others, are skillfully accomplished on this superb release. Set in an oppressive future AI world, the tale told here emphasizes a longing for simpler times. Those nostalgic elements are magnified by the stylistic nods to the band's debut, Milliontown. As on that album, band founder, Jem Godfrey provides lead vocals and a similar adventurousness is prevalent throughout. The imaginative scope of this venture is formidable and extraordinarily entertaining.
Tracks such as The Solid State Orchestra, Evaporator, Moral and Consequence and the two-part, epic title track, display stunning complexity and indelible melodies. More accessible songs like Strange World, Absent Friends and Sign of Life nonetheless contain an impressive amount of depth.
(promo photo by Will Ireland)
Calling out specific highlight tracks is difficult though, because it doesn't do justice to the high caliber of the entire album. Every creative decision made from a composition, performance and production standpoint, feels considered and ultimately perfect.
In their consistent drive to be unpredictable, Frost* has outdone themselves with this wildly imaginative release. Breathing new life into a time-worn formula, they have created the album of the year and perhaps the decade. Life In The Wires is a modern prog masterpiece and one of the greatest concept albums ever recorded.
Every once in a while, an album comes along that confirms for this reviewer why I became a fan of progressive rock.
Life In The Wires is that type of album.