HINTERLAND

I'VE SEEN THE FUTURE OF PROGRESSIVE ROCK AND ITS NAME IS WOBBLER.

Well, maybe yes, maybe no. But I do enjoy Wobbler's debut album. Although they are yet another Scandinavian band consciously trying to emulate the classic prog bands of the early 1970s, I get the impression they succeed better than most.

As with The Flower Kings or Spock's Beard, you will hear lots of echoes. The ominous sounds of early Crimson are definitely here, as well as Keith Emerson's percussive Hammond organ, the pastoral mood of early Genesis and lots of tiny bits of Steve Howe-style guitar... But although Wobbler's music may be a hodgepodge, they nearly convince me; they're having so much fun very little sounds forced. And best of all, as far as I'm concerned, their lead singer is not as domineering as Neal Morse or Roine Stolt. (Many reviewers thought Wobbler's vocals were wobbly, but in spite of Tony Johannessen's technical limitations, I think he does an excellent job at catching this album's autumnal mood.)

So although Wobbler may not (yet) have turned one particular style of classical prog into something new and original (as Anekdoten did with 1970s Crimson), I am convinced their music will be enjoyed by proggers who secretly wish Yes, Genesis et al were still making records the way they did in 1971.

Interesting point: if you look at this site's reviews of Wobbler's first album, many regular collaborators seem doubtful; they have heard it all done better. Maybe they've simply listened to too much prog. Among the guest reviewers, on the other hand, a remarkable number of people have awarded five stars. Surely that's a good sign; it indicates Wobbler have touched many listeners' hearts.

I agree with all those sceptical collaborators on oen thing: the title track is far too long. It starts out powerfully and meanders nicely for the first 12 minutes or so. Then a new theme appears, which is played on recorders, classical guitar and harpsichord. At first you think: 'Aha, neo-baroque, typically prog!' But the same theme is then continually repeated by the entire band for about ten minutes, until you're screaming: 'Enough already!'

Oh well, it's not too difficult to forgive the sins of youth, especially when the final album track opens with a mellotron theme so striking and majestic I can't get it out of my head. The theme undergoes all kinds of permutations and when it reappears towards the end, it sounds stronger still. For this tune alone, I warmly recommend this album.

Let's hope there'll be much more Wobbler to come.