DWELLERS OF THE DEEP

Norwegian band WOBBLER has a history that goes back to the tail end of the 1990's, and have established themselves as one of those bands that appear to be unable to create and release an album that isn't noteworthy. A quality band on all levels, always delivering high quality material. "Dwellers of the Deep" is their fifth studio album, and is set for a late October release through Norwegian label Karisma Records.

Wobbler continue their tradition of creating high quality songs on high quality albums. A certain taste for classic era progressive rock is needed to enjoy this album of course, but among those who do enjoy this specific type of music I'd wager a bet that the majority will place this album very high on their top 5 list of albums released in 2020. A production all fans of progressive rock should inspect, and one I suspect the greater majority will find really enjoyable too.

WOBBLER comes with this 5th album to throw yet another pavement in the prog puddle! 2 sides like in the days of the LP's, 4 songs including two of more than 10 minutes which have their eye on the creation dear to YES, a little KING CRIMSON, GENTLE GIANT or GENESIS, rock dynamism and symphonic drawers from ANGLAGARD and 'ANEKDOTEN and some blood from WHITE WILLOW. 20 years of playing and themes on human emotion, the fight against the mad spirit and the extrapolation proposed on this crazy album, made of sonorous excess, punctuated by the darkness that plagues you and hope , Renaissance phoenix; work performed in the middle of the covid period with obvious musical questions, an outlet for gloom? "By the Banks" offers a bucolic yessian walk with Crimsonian hints towards the end, a fruity title then becoming darker and darker, the sound firmly anchored in vintage and memory. "Five Rooms" with a magnificent symphonic introduction then on a variation of "Yes" from the same group with synths do you want some here, Mellotron, Mini- Moog, Hammond C-3 and harpsichord, incisive guitars; a more concise title, almost an 8 minute hit that goes by very quickly. "Naiad Dreams" for an interlude where folkloric acoustics come to rest the ears of so much musical sound debauchery, a little glockenspiel; yes the 2 previous songs actually had a lot more energy than usual and make this song a progressive island. "Merry Macabre" 19-minute journey into the baroque unknown, progressive title par excellence with a bass as a common thread, a mess of drawers leading onto a sacred, meditative road; a more tortured, dark, complex world, choir voices, varied instrumental digressions, touches of sound painting notes; it's well compartmentalized anyway, no mess flirting between prog rock and symphonic and classicism, even a little Canterbury at times, in short, a sound worked and made fashionable in this year 2020. I do not dissect these 4 more. tracks that will take you to different places depending on your mood, just listen. A meditative, narcissistic, introspective journey into the musical oxymoron with its dazzling blackness and the dark light of the psyche, an album that gives pride of place to uncompromising progressive rock; an album which gives birth to these long developments allowing you to sail according to your soul in distress and to recharge your batteries, this is what you risk exposing yourself to with the latest version of WOBBLER. Surely the best of their discography. Note that all limited editions have an additional poster.

Finally, the new album by Wobbler is out. The revival of the Symphonic prog rock started in the 90s in Scandinavia wih Landberk, Anglagard, Par Lindh and Anekdoten, presenting a style that combined the most English/Italian vein of 70s symphonic prog rock with somber/desolated and folk passages, and with good doses of experimentation. Of all those bands, I think that Wobbler is the one that has best managed to incarnate this spirit, and the one I enjoy the most. So, what do we have here?

By the banks (9.5/10) - A mini epic that seems a lost theme from their previous album, From Silence to Somewhere, and that serves as a perfect bridge between the two works. I love the first half, but there are some moments of the second one that I find little disjoined.

Five rooms (10/10) - If Wobbler does something good, is to be heavy whithout forgetting the melody. Here, all the song builds a crescendo towards the great finale. This track is a masterpiece itself and it has that Canterbury organ that I love so much.

Naiad dreams (6/10) - This one is a miss for me. It is beautiful, no doubt, but I expected something more like Rendered in Shades of green.

Merry macabre (9/10) - A very good epic that starts with a mellow but tense piano and builds up a brlliant and complex palette of sounds. So much influences here, from Renaissance, Yes (especially Wakeman) to Gentle Giant. Check the ending please. Amazing.

Overall, a nearly perfect album that does not reach the heights of their previous one, but that will be in the top 5 of albums of the year for sure. Highly recommended.

It was only a mere four years ago that the Norwegian band WOBBLER really stepped things up and usurped the throne as kings of retro prog with its fourth album "From Silence To Somewhere," an album so authentically steeped in vintage everything that you could really capture the zeitgeist of 1972 with Vietnam War protest fatigue, the Munich Olympics terrorist attacks, Watergate scandals and Coca Cola preaching how they'd like to teach the world to sing. The album was carefully planned and dripping with classic prog-isms that made you wish you could go back and time and trip out at a Yes concert. The world was stunned since the band's previous three efforts were decent but paled in comparison to the mighty roar of the sounds of "Silence."

When a band rockets into superstardom, even in underground musical terms, many things can happen. A given band can repeat the formula ad nauseam and milk it for all its worth, a given band can totally go off the rail and unleash their unrestrained avant-garde fantasies and alienate the fanbase or a given band can gracefully move on but not deviating too far from the album that put them on the map and eschew the temptation of making a carbon copy. The latter is exactly how WOBBLER has decided to proceed with its newfound glory in the prog spotlight and three years later makes a triumphant return with its eagerly anticipated followup and fifth album DWELLERS OF THE DEEP.

Once agin WOBBLER goes for the 70s retro jugular with the quintet of Andreas Wettergreen Strømman Prestmo (vocals, guitars), Marius Halleland (guitars, backing vocals), Lars Fredrik Frøislie (keyboards), Kristian Karl Hultgren (bass) and Martin Nordrum Kneppen (drums) forging that perfect middle ground somewhere in a parallel universe where classic bands like Yes, Genesis, Camel and a dash of Gentle Giant were all fused together for a moment and cranked out a bunch of albums. While some whippersnappers call this stuff vintage dad rock, others are called to evoke the sacred spirit of classic prog and remember how the wizards of yore constructed some of the most grandiose constructs tucked in the paradigm of rock music and celebrate its timelessness.

Graced with gorgeous eye-catching cover art, it's immediately apparent before even pushing play that DWELLERS OF THE DEEP finds WOBBLER staunchly positioned with its hand on the pulse of the retro prog loving public and fears are set aside of a botched comeback attempt once the wobbling keyboards, Christ Squire inspired bass lines and vocal nods to Jon Anderson come roaring through as the opening track "By The Banks" wends and winds through its proggy soundscape for a whopping playing time of nearly 14 minutes. WOBBLER is back and all fears are extinguished as this album of four tracks continues the magnanimity of its predecessor without skipping a beat! The album's four songs are divided into two lengthy prog behemoths, "By The Banks" at 13:49 and the album's highlight, the closing 19 minute sprawler "Merry Macabre" with two shorter tracks "Five Rooms" and "Naiad Dreams" tucked in between.

Like many prog albums, DWELLERS OF THE DEEP attempts to craft a nebulous concept about the roller coaster of human emotions crafted in a matrix of sonic tapestries that are designed to unite the present and the past. "By The Banks" bursts into your consciousness by breaking out the big guns of prog, namely gnarled keyboard attacks, time signature freedom and even a bit of nostalgic venturing into classic rock tracks like Boston's "Foreplay / Long Time" for a wee little moment which is WOBBLER's signature star power namely the ability to evoke many moments of the past without actually copying them! If retro prog is your calling then you've come to the right prog album here as the carefully designed constructs instantly transport you to the rickety basement studio where a bunch of hippies with greater musical ambitions spend their days mining riffs and polishing notes until they all shine with a sensual sheen!

Once the established mood is set on the 14 minute opener designed to pacify any lingering doubts that WOBBLER would "de-prog," the yellow brick road of "By The Banks" finds the band in good form as they traverse the 70s soundscapes effortlessly with one melodic groove transmogrifying into another existing somewhere between the hard rocking world of Yes' early 70s albums like "Close To The Edge" to medieval folk splendor in the form of band like Gryphon and early Genesis and if you hadn't picked up on the Yes-isms yet, the thundering roar of "Five Rooms" will leave you no way of denying it. This "short" track of only 8 1/2 minutes will evoke a taste of "Roundabout," "Close To The Edge" and other rhythmic complexities a la Squire, Howe, Bruford and Wakeman and like the Yes album title, skirts too close for comfort at times but never stays too close to the sun lest it burst into flames. No way, WOBBLER is too clever in how they flirt with greatness but then take the seas of rhythmic and melody into their own.

"Naiad Dreams," a track of only 4 1/2 minutes begins with a nice classical guitar intro and maintains a nice chilled Renaissance fair vibe that serves as a nice intermission before the album's best and most daring track "Merry Macabre" prances on for exactly 19 minutes with a series of classic prog gymnastics that finds a merry-go-round of prog workouts and psychedelic meanderings that culminate in a climactic conclusion of one of the most anticipated prog albums of the year. In conclusion, WOBBLER have hit another home run for sure with DWELLERS OF THE DEEP however the wow factor seems to be missing from this one. Something about "From Somewhere To Silence" had that touched by God feel whereas this one doesn't quite measure up to the perfection of its predecessor.

Despite what i deem as a slightly inferior album as a whole to "Silence," make no doubt about it - WOBBLER is back and back with a bang. Had this album really emerged in 1972 it would have indeed become one of the classics of the era but in reality there is only so much retro prog i'm willing to engage in on a profound level and unless it reaches the height of perfection as did "Silence," then i can only get excitied at the level of declaring this an EXCELLENT album and not whipping out the masterpiece designation. For those more enthralled with this style of prog then they will not be disappointed one little bit. Commence the dwelling! The deep beckons!

I've been an avid follower and champion of these Norwegians for over ten years, however I think they may have overstayed their their adherence to the choice of YES imitation. As skilled as they are, as remarkable are the "new Yes songs" that they produce, I think it has gone too far. I want to hear more original sounds and more original ideas. Though Rick Wakeman, Chris Squire, and Jon Anderson (and to a lesser degree, Steve Howe and Alan White) should feel flattered, I'm afraid that no one will ever hear of Andreas Wettergreen Strømman Prestmo, Marius Halleland, Lars Fredrik Frøislie, Kristian Karl Hultgren, or Martin Nordrum Kneppen because everyone who hears a Wobbler album will only be hearing and comparing them to Yes.

1. "By the Banks" (13:49) My daughter's name is Persephone. I'm not sure yet whether this song is worthy of sending to her. The main rhythmic pattern and rising and falling chord progressions that the song returns to over an over throughout is memorable enough in a kind of Uriah Heep-approach-to-"South Side of the Sky"-kind of way-- and it is intra-dispersed with many divertissements and stylistic and instrument choice deviations to keep it interesting, but I'm not sure what element or aspect of the Goddess of the Spring and Queen of the Underworld they were going after, cuz I'm not feeling it. The most interesting part of the song, for me, is the unusual (and modern) instrumental bridge from 12:27 to 12:36. The end seems reverential but also quite final due to its abruptness--which, again, leaves me unsure as to what they were trying to express. The construction and instrumental performances are all top notch, it just lacks some (26.5/30)

2. "Five Rooms" (8:28) Wow, that was an odd opening: portentous organ preceding a racehorse start (a bit too wild and frenetic)--like Drama YES. things settle down in the YES-like third minute, and then feel solid YES until the frenzy continues--this time more controlled and smooth than the first time--at the end of the fourth minute. The first "new" (non-YES) idea comes in the middle of the fifth minute (though the drumming style may be non-Yes throughout). (17.5/20)

3. "Naiad Dreams" (4:24) opens with 90 seconds of solo classical guitar. The voice of Andreas Wettergreen Strømman Prestmo enters, singing a verse over the solo guitar before other instruments (bass, glockenspiel, pedal steel electric guitar) finally join in. Thank goodness for the fact that Andreas's voice is distinctive and different from Jon Anderson's, so that a song like this can take on it's own identity instead of being categorized as a "Yes imitation." The addition of the "female(?)" vocalist in the second half is awesome. (8.75/10)

4. "Merry Macabre" (19:00) opens with piano, which is then joined by cymbal play, glockenspiel, and bass before the full band breakout in the second minute. It almost sounds like an opening for a MAGMA Zeuhl song. But then the band launch into a full-forced heavy YES onslaught with Andreas singing over the top with the passion of PETER HAMMILL. I really like the STEPHEN STILLS lead electric guitar meandering around over and within the weave during the second and third minutes of this one--and then the 1980s rhythm guitar arpeggi in the instrumental fourth minute. The organ play is wonderful. A sparsely populated section in the fourth and fifth minutes provides a little respite before the next (jazzy) full band section at 6:25. There is an interesting bounce to the Hammond in the eighth minute. Then it gets a little jazzier (ANDY TILLISON-like) in the ninth and tenth minutes before softening into a gorgeous early-KC/ANEKDOTEN- like portentous weave at 9:30. Andreas joins in briefly to offer some simple words in the eleventh minute before an excellent (and wholly original) instrumental passage with psychedelic-treated voice mixed within ensues. It's almost REINE FISKE/PAATOS-like here. Awesome as the craziness builds and builds well into the fourteenth minute before a MiniMoog at 13:30 leads a shift toward a less-pleasing more rock section. At 14:30 everything drops out for piano and Andreas singing. This sounds like German band ANYONE'S DAUGHTER! The solo piano runs off into a very classical-sounding passage until an old synth joins in during the seventeenth minute and then the whole band jumps back in with an insistent pace reminding me of MOTORPSYCHO. Nice keyboard and cymbal work in this passage as the vocalist(s) try to wrap it up. Overall a pretty cool journey into the "darker" side of Wobbler (which really isn't very dark). (35.25/40)

Total Time 45:41

The mastery of composition and performance is still there. The sound production is superb. The YES-sound and - style patterns are still dominant, but there may be a little more variety on display here than on previous Wobbler releases. Though the multi-voice vocal harmonies are excellent (probably even better than those of YES), I feel too often that these guys are going too far to try to replicate the Yes weaves. Also, this album, for me, lacks the memorable melodic hooks of the two previous albums.

B+/4.5 stars; an excellent addition to any prog lover's music collection--especially if you adore 1970s Yes music.

The last album ''From Silence to Somewhere'' was a good comeback for the band to the greatness of their first demo songs released on their first album. Is the new album will continue on the same level? The first track ''By The Banks'' is a strong track of Retro Prog taking inspiration to Yes first period before Rick Wakeman joins the band. You can enjoy the Moog and Mellotron chords parts throughout the album. There a lot of singing on this album that reinforces the impression of the influence of Yes. ''Five Rooms'' brings a faster pace with some big rolling bass. The next song is a breather with some great arrangements with an acoustic guitar that reminds me of Steve Howe. We have a peaceful atmosphere the perfect song of that genre that keeps the melody flowing. ''Merry Macabre'' is another solid epic with some groovy and tripping parts reminiscent of Anekdoten. Often an album could be a bit too long but on this one, you crave for more after 40 minutes+. Fans of Yes, Gentle Giant, and serious Symphonic Prog lovers that enjoy the dark and light mood of big epics with a vintage sound will not miss this one.

If you like 70's prog with mellotron, tinkling Hammond, multiple vocal harmonies, and the full body sound of the Rickenbacker bass, this is the album for you. The audio quality on this CD is very good, proof that CD's can have sonic properties as good as vinyl. I'm going to mention right away that I'm not a fan of the vocalist and that deters from my enjoyment of the music. He sounds similar to Jon Anderson, but his timbre is not for me.

There are four songs on this 45 minute disc and the first two are my favorites. "By the Banks" starts out strong goes through several different grooves. Good song that ends abruptly, as they didn't know how to give it a proper finale. "Five Rooms" starts out with vocals and then quickly turns into a Yes sounding riff. Wobbler definitely showcase their influences on this song and provide an abundance of great playing. Listen close and you hear the Gentle Giant influence at 4:22 and again at 6:50. Not just an influence but almost note for note "Three Friends" riff. "Naiad Dreams" gives us a break from the furious pace of the first two songs and begins with a nylon guitar and then vocals come in. A very sparse song and the shortest on the album. However, it also has a strange unfinished ending to my ears. Closing song "Merry Macabre" (19:00) is the longest on the album, it begins mellow and morphs into more Yes sounding material. I love the bass tone on this song... it kills. In fact, the bass tone, and playing, is outstanding on the entire album. The mellow part around four minutes, causes my mind to wander, but they pick up the pace with a jazzy groove around the seven minute mark. Good song but it has too many meandering bits, for me and the ending is odd again.

Overall, a decent album if you like 70's prog. For those looking for modern sounds you won't find it here. Actually, a 3.5 star release but I'll round down since others rounded up.  

To me Dwellers of the Deep is by far the best album they've ever done. I own all their previous releases so I got to see them evolve. This album contains some of their finest recordings ever with "By the Banks", "Five Rooms" and the 19 minute "Merry Macabre". Amazing music all around with Lars Fredrik Frøislie providing authentic vintage keyboard including Mellotron (and perhaps Chamberlin, he does own an M1). "Naiad Dreams" is calm and largely acoustic, serving as a breather from the intensity of "Five Rooms". I usually should refrain from believing this is as great as many of the classics from the '70s but this album very much is that! Five stars shouldn't be something you throw at but the music so amazed me it deserves that rating. I can't believe the heights Wobbler are soaring with. And I'm really amazed at the drumming of Martin Nordrum Kneppen here, he gives his best drumming here (I also own several Tusmørke albums where he's a member of too). No doubt a highlight for 2020 and some of the finest prog in recent years.

One of Symphonic Rock Emperors WOBBLER have come back to our world. Another surprising to me they could create such a fantastic album for only three or less years. Their previous work "From Silence To Somewhere" was much appreciated to get the award Collaborators Top Prog Album of 2017 and I guess the latest one would have such a brilliant power and authority to climb the top of the mountain of the progressive rock scene. This album "Dwellers Of The Deep" has got more compact and more condensed than the previous one, and all of the four tracks are highly created and produced. Consider this opus will never betray every single Symphonic Rock fan, let me say.

The opening track "By The Banks" has brilliant critical enthusiasm. The topnote of swift keyboard work and thrilling rhythmic basis will catch our mind strongly. Their chorus, not so powerful but sensitively harmonized, is going to drive us mad. The construction of this track can be called as an authentic symphonic rock. Beautiful keyboard texture in the middle part is quite tempting. Always wondering why they launch such a complex soundscape that we can listen to fully with relaxation and meditation. Maybe because their melodic / rhythmic formation is pretty elaborate, delicate, and perfect. "Five Rooms" has more complicated melody lines and drastic rhythms but sounds quite catchy. Suppose their intensive melody-making apparently inspired by YES (reminds me of something like 'early' YES actually) or some legendary symphonic prog pioneers would let us feel so ... heavy texture here and there is also of our comfort. This track is 8 minute short for their production but we cannot avoid feeling this stuff should consist of colourful sound variation. "Naiad Dreams" is sorta delicate but delightful ballad one. A only-four-minute song has potential to ease us up. Acoustic guitar-based safe and sound attachment can suit all tastes suffering from current coronavirus pandemic. The last magnificent suite "Merry Macabre" should be their masterpiece. Bright phases like sunlight, deep depressive nervous zones, light-flavoured (but never thin nor flat) cheerful lesions, theatrical dramatic melodic sound-scenic paradises ... dazzling kaleidoscopic musical collective strongly with artistic vibes and innovative movements will never end. The last phrase immerses the listeners in a complete manner. Obviously they addict every single fan via such a killa impressive ensemble. We should listen carefully to this epilogue without any breath nor any eye blink.

For me, sounds like this album should top our expectations. As they release albums, their integrity improves massively. Oh God.

Wobbler - Dwellers of the Deep

I remember several several months ago posting on the PA forums that Wobbler had begun the recording of their new album and one commenter say: "I'm scared, can they possibly make a worthy follow up?" While I had no doubt in my mind Wobbler was going to deliver a quality album, I had the exact same thought lurking in the back of my mind. From Silence To Somewhere is really just a completely earth shattering album to me. I ritualistically listened to that when I first discovered it and I have to agree with the sentiment that sillypuppy laid down in his review: FSTS is an album that just had the heavens touch, a once in a lifetime album. It's an album that makes me question all my other 5 star reviews and ratings and it's influence on me as a musician is nearly unparalleled.

I've always said, Wobbler has 4 albums and not a bad song between them. That's still the case, but now they have 5 albums. Dwellers of the Deep is that 5th and on this album, more than ever do I feel a sense of confidence and identity. My preorder came a couple days early and it just hasn't left my turntable since I got it. I find the songs here to be unbelievably dense and jam packed with layers upon layers. Within every single song I'm unpacking heaps of new stuff that flew over my head on previous listens and I'm finding this album to get better and better with familiarity. From a production and sonic standpoint, this album is gushing with life and punch, possibly their best in that department. Being familiar with their previous works, I find the drumming to really stand out on this album and I'm really seeing a very unique and distinguishable style molding on this release. The bass is very highly developed here, rather than simply playing to back up the drums on rhythm and set the stage for the more typical lead instruments to steer the show, the bass player is constantly laying down counter melodies on top of everything. Another thing I find more of on this release is a greater contrast between soft and loud. I'm a classical pianist, while I love me some Organ, Mellotron and Synth, nothing does it for me like some plain ol' acoustic piano, and boy is there plenty of that here! Oftentimes the music will strip down to just piano or just guitar before building right back up to full power. The lyrics are filled with beautiful imagery, but their greatest strength is how well they jive with the music. The guitar gets a little more time in the forefront with some great riffage and strong developed solos. I'm finding a lot more eclectic and atonal sounds/instrumentation in the mix on this one. We get 4 songs here and the structure is similar to that of FSTS, but backwards. However, the shorter song stands more as an actual song whereas Rendered in Shades of Green was a darker piece that to me, always felt like the breathing room needed after the behemoth title track.

By The Banks

Where do I even start on this one? So much to unpack. Right off the band starts throwing a wall of pure Wobbler at you with a windy and flowing organ on top of some real heavy riffage with the aid of some lower pitched harpsichord adding a nice punch. Around a minute in the organ takes the lead delivering some real nasty lines along with the drumming giving it a real headbanging feel. The lead vocals come in sounding straight from the heavens, larger than life. Throughout this track.... well... album, the vocal melodies and harmonies sound so dialed in and on point. After some awesome unison organ and guitar soloing, the song takes you on an earthy safari through pure Norwegian symphonic bliss. Around the 4:50 mark we fizzle down into a real epic sounding piano motif which builds up into a beautiful and inspiring sounding passage. At 6:48 they pull a clear Gentle-Giantism with the trading off of instrumental parts and the little nod always brings a smile to my face. It kicks into a sick striding groove and it does a little bit of an unexpected modulation in the vocals where it seems to come in and rise above where you would really expect the vocals to be at during this section, it's a great and well executed idea. However, while all this has been face melting, the section it develops into at 8:52 is unfathomably brilliant. This part of the song just gets me so amped up with its illustrious and celebratory feel led by pristine sounding Harpsichord and Synth while the guitars add that little extra elevating push underneath it. The flute is really the cherry on top, I live for this kind of stuff. Coming out of this it turns into a very haunting and mesmerizing movement with pretty sounds all around you as soft piano and intimate vocals sit in the forefront. It briefly turns pastoral before the intro comes back and slaps you across the face. This time it takes a little more of a darker and doomy feel before it takes off into the stratosphere at 13:18. God this part is so amazing, I really wish this lasted just a little longer cause it's glorious, even 2 more measures!! I'll take it! This is already one of my favorite Wobbler songs, hands down. Every single section and melody in this track is so memorable and it maintains such a high level of quality from start to finish. What a way to start an album!

Five Rooms

Five Rooms is consistently a very driving and upbeat song with fiery soloing and twisting interplay. The bass playing is extremely developed throughout this track. It opens with a very somber and hopeful organ and vocal soundscape before kicking into the high intensity action explicated by awesome guitar riffage and generally high energy playing from the whole band. While the windy guitar playing goes on, there's some really nice mellotron playing that gives the verse a nice flowing feel. The song turns sort of lowkey at around 1:59, but it doesn't lose any momentum, you can still feel that energy bubbling beneath the surface. I love this passage, the organ is doing the work of setting the mystifying stage here, but I also really love the intimate vocal delivery, lyrics and countless guitar counter melodies and subtleties throughout. It comes out of this passage in such a hard hitting and satisfying fashion with that organ gaining a few notches of heaviness while the guitar and rhythm section work together to deliver a couple extra layers of punch on top of it. Such a headbanger. Coming out of this we enter a big solo section kicking off with a really sweet guitar and organ solo and I think guitar player Marius Halleland really unleashes here with what I would call his best and most developed guitar solo to date. The mellotron comes in on top of a variation of the main riff and I love the real striding feel of the combo, the bonus organ layered on top takes it even higher. A really interesting "rise and fall" feeling vocal motif brings us out of this fierce solo section back into the verse. Seamlessly, a real fuzzy Canterbury-esque organ takes over and it's sweet! It sound's straight out of The Land and Grey and Pink, but with the distinguished playing style of Lars Fredrik Froislie. This is another case in the song where there's a lot going on in the rhythm section and if you listen carefully they're actually setting the stage for the next development of the song. I love the vocals that come on top of this doing a super swift job of delivering the goods on top of the shifting and unconventional time signatures going on beneath them. The song reaches a real epic peak and conclusion in the final couple minutes with soaring vocal harmonies, grand organ and guitar playing and an awesome victorious and celebratory feel to the music. Five Rooms packs so much content into eight and a half minutes and all of it sticks, another simply great song.

Naiad Dreams

This is the shortest track clocking in at just under 4:30, it's somewhat whimsical and pastoral. This track especially showcases the very largic sonic range on this album with it's very delicate instrumentation and atmosphere. In fact, there's more varied instrumentation throughout this track especially in the percussion department as well as some of the usual culprits. There's a really pretty passage towards the end with some picked acoustic guitar,electric guitar volume swells and mellotrons. A very pleasant song, and a very unique entry in their discography.

Merry Macabre

This is a track that's really taken me some time to wrap my head around, this song is so.... dense. Wobbler are no stranger to longform epics, but this one is different from anything they've done and honestly, anything I've heard from... anyone. This is a big one, taking up 19 minutes of the albums runtime and it packs a lot of content in those 19 minutes. The opening of this track is very menacing, there's airy piano playing while percussive subtleties swarm around before a really heavy and brooding organ riff takes the lead kicking the song into gear with the rest of the band promptly joining in. Throughout this opening verse there's tons of great instrumental variation going on, plenty of riffs, melodies and motifs to really sink your teeth into. Coming out of this for the first time it strips down to mainly just the rhythm section laying down the canvas for the lead guitar to lay down some awesome soloing/riffage while the organ underneath it throws in it's two cents. Coming out of this the dust settles for a bit as Wobbler brings you to the fountain of youth with only volume swelled electric and spacey vocal harmonies. I love the riff and playing that follows this section, reminds me a bit of my favorite band Camel, but I feel it's just a little abrupt. However the playful jazz groove it breaks into always brings a smile to this face and the vocal delivery on top of this creates a really interesting tone and feel. The band smoothly transitions this into a really awesome buildup and jam which is something generally new to their music. It starts small but not at the cost of its momentum, cause you can feel something stirring in the bassline, drumming, and very soft guitar and mellotron playing that are slowly building up in the soundscape. After some brief vocals, it takes things up a notch with the drumming picking up the pace and the guitar playing these awesome darker and windy riffs. The way it develops from here on out is just killer, the grooves and drumming in general throughout is just awesome and probably the best on the album while the instrumentation makes me feel as if the walls are melting around me, especially with the somewhat muted vocals that dip in and out. This jam reaches an awesome synth-laden conclusion before stripping back down to some soft, impressionist-esque piano playing and while I love nothing more than the sound of plain' ol acoustic piano, I can't help but feel that this short little passage is nonessential to the song. I think this passage acts as a bridge between the two best parts of the song, I think it feels a little touch-and-go and in turn we lose just a bit of steam. I really like the piano playing actually, but imagining both the aforementioned jam and upcoming conclusion of the song together in succession sounds amazing to me. However, coming out of this around the 16:15 mark these really mysterious sounding synths blossom around you on top of an already existing abundance of other ear candy sounds and instrumentation. When the whole band joins this closing section, it just becomes ungodly. In this big playout literally every single member's contributions sound so essential. It's super chaotic with this otherworldly synth lead in the forefront on top of some heavy eclectic guitar playing. Keeping the same energy, we get a little bit of a synth showcase with my favorite part starting at 17:40, there's such a nasty groove and the vocals sound so big and uplifting. It's a satisfying conclusion, but similarly to By The Banks, I wish they played this out for maybe a minute longer. This is undoubtedly an awesome song, there's some really great peaks here but I feel like there could've been a little more of an emphasis on the song structure as many of these great and beautifully creative sections come and go never to be heard from again. I find that the contrast between soft and heavy can be a little abrupt at times, but every section as a standalone piece of music is great. Overall, super solid track and one that is bound to have an endless amount of replay value.

This is one more fantastic entry by a band that is yet to really do much wrong. I rate this album as a strong 4.5 stars. For progarchives sake, I'm rounding down to 4 stars. This album is a very appropriate follow up to FSTS, they never sound like they're trying to cover that same ground, the songs on this album just give me a different vibe and that's the mark of a great artist. Certainly an album that is bound to make my 2020 podium, if not AOTY. Thanks for reading!

Gorgeous !

Since I discovered Interland and Afterglow, I have become a huge fan of Wobbler's music. With Inhabitants of the Deep, this group offers us an ideal balance between their past and present compositions. We therefore find with joy the influences of Anglagard, Gentle Giant and Yes in compositions, each more brilliant than the last. The flawless performance and recording make it one of the best symphonic prog records of the past twenty years. These guys are really at the top of their game! Ever since I received my copy of Dwellers Of The Deep, I have been literally stunned, dazzled and overwhelmed. It is undeniable that Lars Fredrik leads the dance (a few nods to Wakeman, especially at 4:00. on the track Merry Macabre), however, the balance between the instruments is perfect, even if the guitar is often left behind. groups of Italians from the 70th. Note that the female counter-song and the violin of Asa Ree add a little more undeniable.

For me a 5 star without any hesitation.

Wobbler returns from 4 years of touring and writing, teasing and otherwise with a starstriking 9 minute single entitled "Five Rooms" in which they explore the Yes sounds of albums resembling "Close To The Edge" and "Relayer". Of course I find this album very derivative, copying what Yes did, but I don't think its because they are trying to be a Yes clone, I think they are taking the sword, filling in for what Yes simply can't do as of now. So what does this 45 minute album hold? Two epics, One eight minute track, and One 4 minute acoustic track. Shall we start unpacking?

By The Banks, the weakest track in my opinion. I think it does well trying to sound like Yes, but I found the production slightly weaker on this track, the flow of the track overall was fairly moderate but still had amazing moments that kept it interesting. 11/15

Five Rooms, Probably my favourite track on this album and the single released to promote the album. Very Yes, but also very Wobbler. I like the instrumentation on this song, the vocals here are some of Wobbler's best vocal work on any album. 10/10

Naiad Dreams, yet another Yes track that sounds like the beginning of stuff like "And You and I" but very pleasant. Well done. 5/5

Merry Macabre, 19 minutes that might as well be Wobbler's version of the title track of Close To The Edge. The originality isn't really there but its still an incredible track, I'm not going to discredit it. I found all 19 minutes of this epic very digestible and easy listening to any prog-fan. Me personally, I love how this song sounds, the structure is exactly how Yes would write an epic of this length. The vocal work is still top notch of Wobbler and we have a mix that fits the song. 19/20

I actually like how Yes this album is, it provides an outlet for Yes fans that can listen to what they want Yes to be. So ... time for grading!

Total Grade: 45/50 Percentage: 90%

Essential: a masterpiece of progressive rock music.

So, is this band going supernova? Just maybe.

Coming off the highest rated album of 2017 on Progarchives, it is hoped, but not necessarily expected that the next effort will be as good. Except in this case, it is quite arguably better, and is in fact on pace to take highest rated album of 2020 as well. "Dwellers of the Deep" displays an exciting extension, progression, and growth stemming from their previous album, "From Silence to Somewhere". The songs seem tighter, more structured, the music even more inspired, the lyrics more cohesive, and the vocals more accessible. The density of material in a small space is astounding!

There have been plenty of excellent reviews breaking down the tracks, so it doesn't seem particularly necessary to do that over again, at least in any detail. Rather then, this is going to be more of an impressionistic review rather than a technical one, with a few musings and random thoughts.

I suppose the first observation would be one that comes up repeatedly in other reviews, the comparisons with Yes. Does this collection of songs bring up a sense of deja vu of Yes? Without a doubt. Do they sound like Yes? That's a double edged question. When the track "Five Rooms" was early released the immediate take on it was this was like a Where's Waldo of split second Yes riffs feathered in and hidden throughout the big picture. Actually found it to be pretty entertaining to pick them out and try to figure out where you heard them before, or if maybe it was just your imagination. That being said, the structure and construct of "Five Rooms" is very different and unique from anything done by Yes, so that being the case this is a band with its own direction and musical identity.

It cannot be denied that the two bands share some instrumental and vocal parallels. The crunchy base is there, nice lead guitar work, exquisite keys, and creative drumming, and there are moments that the echo of the voice of Jon Andersen can be perceived. But this is where it ends. Wobbler take all these elements apart, deconstructs them and puts it back together again in a totally different way and style.

One of the big differences in Wobbler's song structures is that they are constantly evolving and exploring new musical ideas within each song. It is a strength in that with each listen you continue to pick up different subtle nuances in the tracks. The tracking of each instrument is clear and distinct. It makes it easy to focus on any one instrument at a time and extract it from the mix. At times the music seems very discordant, each instrument doing its own thing, and yet it is melodious, one of the joys of excellent progressive compositions! Often, ideas flow in and out in a minute or so, and yet to their credit the tracks remain cohesive and accessible.

But at times it can be a case of their strength being their weakness. As a case in point, in the track Merry Macabre there is a great guitar solo that starts at about 3:18 and the magnificent final synth push at the end of the song that starts around the 16:40 mark. Both are painfully short. I for one wish these and numerous other passages (you will likely find your own) throughout the album that you wish were explored and developed for another minute or two or more. That minor complaint not withstanding, Wobbler knows how to keep us wanting more.

A curiosity is that the rapid fire musical shifts have the effect that if one is not paying attention the songs can run together. For example, the first track "By the Banks" seems to blend seamlessly into the second song "Five Rooms". Frankly, they could have been merged into one larger epic track instead of two shorter ones. One gets the feeling that the ending of "By the Banks" just sneaks up like they didn't know how to finish it. This is perhaps one of the very minor weaknesses in the album. Thankfully "Five Rooms" ends with a big convincing final riff, with a very obvious tip of the hat to Yes. Totally cracks me up each time I hear it.

"Naiad Dreams" is a totally different piece of music from the rest. It is a simple clean understated ballad, truly lovely. Some reviewers have dismissed it, but that seems a shame. It is an effective respite between all the high energy and complexity of the other three tracks. Again, a minor note, but this song also feels a bit unfinished at the end, but it is not such a big deal as it is followed by the powerful "Merry Macabre". Notably, the vocals in "Naiad Dreams" do not sound Andersen like at all which is a plus in giving the song a more Wobbler distinct sound.

This album really does have everything classic progressive fans love, moments of mellow bliss, moments of intensity, and everything in between. The vocals keep improving and the harmonies when used are quite enjoyable. And where song endings may be a bit of a weakness, there is no such issue with the openings and bodies of the songs. And there is certainly no issue with the closing moments of the album, truly a distinct and really awesome finish. Oh that it were just a little more protracted! To fill in some of these spaces, this 45 minute or so album could be another 10 minutes longer and we would still want more.

And by the way, the album art work is pretty awesome too. Can't speak for anyone else, but the art work almost always affects my perception of the music to follow to some lesser or greater degree, and in this case, its a winner

In conclusion, this a band that is on an exciting trajectory. They have all the aural flavors of the past, but are serving them up to us as something fresh and new. It was observed that had this album been released in the 70's that it might be a classic of the time down to our time. Perhaps, but not so sure, as it may have been a little ahead of its time. But for today, yes, definitely it will be a classic. This is positively a must have for all classic progressive fans. 5 stars no question about it.

So, Is this band going supernova? let's hope not as we don't want them to burn out any time soon!

Looks like I'm going against the grain. Wobbler's 2017 album From Silence to Somewhere was quite rightly heralded as a masterpiece, so they had something to live up to here, and its not always easy to follow up.

That said, there's two thing I can't get past with this album. One, I can't help thinking its completely targeted at fans of the70s heyday when prog was almost mainstream. It therefore sounds a bit dated to me, and in context of other releases in 2020 that seem to be developing, that's not good. Two, and this is probably part of the reason for the first point, it sounds far too much like a Yes tribute act. Of course if you're going to mimic a prog band that's not a bad one to choose, but it seems too much to me like Wobbler haven't bothered with their own identity with this album and are just happy to give a few prog heyday fans a nostalgia trip.

Its good, but it doesn't stand out for me. First two tracks better than the last two though.

Continued polyphonic saturation mastery with modern implementation

Dwellers of the Deep is the next part of this exceptional journey that Norwegians Wobbler have had for these 20 years or something. This further exploration of the deepest recesses of symphonic progressive rock flourishes with the completion of another accomplished masterpiece after From Silence to Somewhere , which in itself is amazing. This work builds on several aspects of its predecessor, especially the hints to the modernization of the sound, slightly higher concentration to the musicianship and improvisation rather than the songwriting process and third but not last - even lusher saturation with atypical but brilliant moments. The self-confidence of the band members lead to great solo performances, with special note to keyboards and bass. Another symphonic prog brilliance from Wobbler, with different angle of sharper challenger to the predecessor. Do not miss!

Another top notch threat to the tops of different lists!

How do you follow up an album like "From Silence To Somewhere"? With something like Dwellers Of The Deep, of course!

SilverLight59 mentioned the probability of this band being in a "Supernova" state, a state in which the band starts pulling out masterpieces one after the other, but their creative fuel starts running out very quickly. And that's the most probable case, since even beasts like Pink Floyd or Genesis suffered that status. The least probable case is that this has become the standard album quality for Wobbler, and if that's the case then Wobbler might actually be the best symphonic Prog-Rock band in the world.

Dwellers Of The Deep doesn't fall short compared to the band's previous effort, infact, it tops their previous album in some certain areas! Just like From Silence To Somewhere, the albums includes four tracks, one of them being a long epic, From Silence To Somewhere with its title track and Dwellers Of The Deep with Merry Macabre, which are the absolute best from their respective albums (And modern prog rock in general (^o^)). Not only is the music quality of DOTD even more consistent than FSTS's, but the production of the album is even more polished and enjoyable (That's not to say the production of the albums before was mediocre, it was still pretty good).

Just like the album before, this is an absolute must for anyone who enjoys Symphonic Prog Rock. Let's just pray that Wobbler continues this album streak furthermore!

It is difficult to be objective when evaluating the album of a band whose previous album was recognized as a masterpiece, and in a fairly short time after its release. The new album was supposed to give an answer to the band's claims to be the leaders of the modern progressive rock scene.

The originality compared to the previous albums has become even less, and the similarity with YES is even more. And in some moments, the musicians literally copy the techniques and style of YES ("Five Rooms"). However, in the last composition, you can also hear the Van der Graaf Generator from the times of " H To He...".

But the main problem, in my opinion, is still not in this. The album simply lacks variety, bright and beautiful melodies, it is boring and dull. There are some beautiful melodic finds on the album, but this is definitely not enough for the No. 1 band of the modern prog scene. In addition, the same problem can be traced from album to album, which has long been a trend - weak compositional work. Some parts of the compositions are literally roughly glued together. A striking example is "By the Banks", namely, a return to the initial theme after a very beautiful (the most beautiful on the album) harpsichord piece in the finale - the harmonic sounds just crooked and not justified, the return to the key is not prepared, and there is a strong feeling that the musicians simply do not know how to do it correctly. In addition, compositionally, the music is very static. Musicians are so busy with the facade that they forget about what is behind it.

Two points for the music, one plus one for past achievements and my love for YES, for a total of three.

Finally, I would like to ask a question - what would be your assessment of this album out of context " From silence..."

'Dwellers of the Deep' is the fifth studio album by Norwegian retro-proggers Wobbler, released in 2020, some three years after their highly praised magnum opus of lush symphonic rock 'From Silence to Somewhere'. This record is hardly different - but why exactly? It is certainly the same style that they presented on the precedent album, focusing a tiny bit more on composition, making 'Dwellers' somehow more tight. However, this takes none of the enjoyment of the listening experience - the magnificent and largely lush retro prog sound, that also is the reason for many comparisons to Yes to be drawn, is still here, it is quite recognizable, and it is unsurprisingly the reason for which this mysterious Nordic band is so highly regarded.

No changes in the lineup means that the five members of Wobbler could focus on expanding their scope, and maybe stretching out a bit further the 70s symphonic prog sound they are going for (and successfully championing it!), so that they can simultaneously meet the high expectations after their 2017 work of grandiosity, and not make a repetitive sequel of it.

'Dwellers of the Deep' kicks off with the nearly 14-minute 'By the Banks' - the massive retro keyboard sound takes the listener on from the very first second of this record, just to introduce the rest of the band that go on to play another mind-wobbling instrumental introduction. This is a more dynamic number from the band, and a fantastic way to open the album.

After that comes the pretty perfect 8-minute song 'Five Rooms' - I am seriously doubtful whether they recorded this in 2020, or they went back in time, probably somewhere around 1972, and recorded this in the same studio where Yes were doing whatever they were doing back then. It is a gorgeous celebration of that old-school prog fiesta sound that we usually associate with Yes and Gentle Giant. At the same time, the attention to detail and the wacky shifts that the band does, reminds strongly of King Crimson and Änglagård. However, most importantly these guys remain Wobbler all the time, and I think that with the previous album and now this one, it can be safely stated that these Norwegians have pretty much nailed a recognizable sound of their own!

'Naiad Dreams' is a very gentle and almost entirely acoustic piece, representing the more lyrical and calmer side of Wobbler that goes on to introduce the big winner of the album - the 20-minute 'Merry Macabre'. This is an epic that is nothing like the epics that Wobbler's peers release these days, as it sounds pretty sinister, extravagant, and compelling, almost diverging from the uplifting tone of the rest of the album; divided into three parts, each of which seems to get darker and weirder, it is more than exciting to see the Norwegians in such light, and if I were to guess, this is a shade of their music they will continue to explore on future releases... hopefully!

All in all, 'Dwellers of the Deep' is an excellent album, another great achievement for Wobbler that will certainly age as one of the best moments in their discography; probably not as astoundingly lush and melancholic as its precedent, but nonetheless a very well-constructed album that makes perfects sense... well, probably not the mythological lyrics, but musically as a whole! A highly recommended band and album.

Wobbler is inexhaustible!

Okey, because of the name and the album cover, I would never have expected such an instant start and potential. Wobbler is my favourite band at the moment, and that's because this marvelous albums that they release. In "By The Banks" their sound is so symphonic, so delicious and precise, that their albums seem like vintage works that have aged perfectly. I love the influence of Yes in this band, especially in the keyboards, the extended vocals and the lyrics. They sound similar, but not enough to overshadow any of their originality. The choral parts are the detail that definitely gives this song its essence. The guitar, halfway through the song, starts to have a definite punch with short but more than effective plucks, riffs and arrangements. The lyrics of this song are perfect: a miscellany of existentialism, mythologies and magical realism. All instruments are constantly involved, each one doing its job excellently. I must admit that, being a deep Yes fan, the Jon Anderson-influenced vocals (or with some resemblance) make me like the melody even more. Anyway, I judge impartially in my reviews, and I can assure you this piece is amazing.

"Five Rooms" is just the most energetic song I've heard in recent times. Some melodies seem to be taken from Relayer or Fragile. The playing of each instrument is unexpectedly more fascinating than the performances of the former. The drums lead the way at almost every moment, changing the playing every second! The keyboard is so overwhelming and wonderful that I don't know what to say about it. They are just too fantastic scales to detail properly on the first play, and that's why I loved this song so quickly. Before it's over, I already know I'll be listening to this album many more times. I can't not give this song 5 stars. Symphonic rock at all times and at its best. Incredible work.

After two songs with so much brilliance, logically there was going to come some short piece to relax the listener's ears for a few minutes. And that's why comes "Naiad Dreams" to us. The song starts with just the guitar and a simple but beautiful melody. Then the other instruments are incorporated to make the arrangements more empyrean. "Sifting through the starlit night, I drink the moon god's tears". Wow, one of the best metaphors I've ever heard. I think the strongest point of this song is the lyrics, as it seems like that's where the harmonies genuinely come from (even before they start singing). The low point of the album, but not for that reason bad, as it is easier for complex compositions to shine if they are accompanied by a simple composition.

"Merry Macabre" is almost perfect. If there was any doubt that this album is based on the most important Greek figures, on the essential elements of the planet, on the deepest feelings of the human being and on the eternal care with a fundamental vision towards the future time, this song has cleared it up completely (of course that doubt was already cleared up, it's just a way of saying that in this song is where it stands out the most hahaha). This piece is so far up there that I don't know where to start. It has to be the best musical composition of 2020. There seems to be a lifetime of mysteries and higher connections in these 19 minutes. The melodies soar to a plane as yet unknown to the listener, where the instruments play magically with the perspective of the deity and the human limitations of the listener. The level of composition gives room to talk for hours about this, and that's why I think it's wrong to detail EVERYTHING that happens in a review as humble and simple as mine. Before listening to the album I already knew I was in for a masterpiece, as I had seen the ratings it received on this site and I had already listened to their magnificent album "From Silence To Somewhere", but I didn't imagine it would be so impressive. I can't decide between which of the two albums I like the most.... I think I have to listen to them many more times for that. This band is simply the best of the symphonic rock scene in the last 10 years.

The album is one of the greatest and most exquisite works of the 21st century.

I consider this the best progressive rock record in the last 10 years or so, it's just magical, every ounce of it makes it even more perfect. I really encourage anyone who likes 70's prog to take a listen to this beautiful piece, strongly inffluenced by YES with those major melodies and the vocals leading the songs.

Andreas' vocals are probably my favorite aspect from the album, I think it pushes the music together as a whole and makes everything super dynamic. Something worth to mention is that besides all the seventies inspiration found in their songs, there's something more to it, they're really unique, they have that scandinavian touch and knows pretty well how to produce some melancholy in the ambience too. Beautiful production by the way, really beautiful.

DOTD is The fifth studio album by Norway's #retroprog and #symphonicprog band #wobbler and was my point of entry to the band, thanks to an episode of album Review by YouTuber #petepardo of the #seaoftranquility channel. It is unquestionably an impressive piece of work and my favorite of the whole catalog, I have played this album in its entirety at least 30-35 times since tu first listen on 2021. Four incredible songs clocking slightly over 45mins that contain absolutely everything a symphonic #proghead would expect and like when searching for new challenging music, simply spectacular. By the Banks opens at full speed, the instrumentation is fenomenal, same with the vocals! Fat bass, minstrel instruments, frenetic and accurate drumming, flutes, keyboards, outstanding guitars? can't get enough of its melody and power, up and down, down and up, perfection! Five Rooms has a different mood to it, mellow start with keys and strings? Vocal harmonies that merge announcing another twisted crazy fast tempo that shows the listener how tight and virtuoso this rhythmic section is, Kneppen (drums) & Hultgren (bass), face melting playing! To discuss Frøislie's (keyboards) playing would need another review on It's own, and Halleland's guitars mandates further and further listens of the track, of the album! Magnificent modern prog. Naiad Dreams works like the antidote to such greatness and will prepare us for the epic closer track. Without further explanation, Naiad is the song that made me understand and acknowledge that the enchanted Norweian forests is a place I really like, I want to sleep there, eat there, drink there, etc., it's the track that got me into Norweian prog. Merry Macabre, now that's a whole diferente beast and it's exactly that, happy and dark. I just can't get surprised enough by Wobbler's musicianship and song crafting. They're are writing albums that will have a place in music history as the likes of their influences, no questions asked. The #yestheband #jethrotull #genesistheband #cameltheband #gentlegiant must and have to be immensely proud of what their classic work has influenced and deliver beyond their own music. Wobbler is authentic high quality music and not only within the prog genre or sub genres. Mandatory listen!

First time I was in touch with Wobbler sound was around 2010, with the album Hinterland. It was a good surprise, the guys were at least very competent, that was a at least three and for others four stars effort. It matches IMHO exactly the 3,82 rating it achieves in progarchives

The years have passed and it became clear Wobbler was growing in prog community. At that time my new heroes in the movement were Steven Wilson and Andy Tillison, but as much as there are loads of music from these musicians, I know there was need of attention to be direct to Wobbler music.

So I heard From Silence To Somewhere and Dwellers Of The Deep for many, many times, and there was no doubt the band deserves to be recognized to the point of acceptance they were.

Dwellers Of The Deep is a four songs and 45 minutes long album. I am not coherent about how long must an album last, in the beginning it is good to hear a short one because it is easier and faster to get to KNOW it. After that, when the album is really that good, I start missing more of that. This album does not differs a lot from Hinterland in a way Songs From The Wood differs from A Passion Play, their basic sound was already stablished. What increased was the QUALITY of their compositions, with melodies even more strong to our years.

By means of conclusion, Dwellers Of The Deep, as long as From Silence To Somewhere, are a strongly recommended albums, due to its musicianship, strong sense of melody or, in other words, its progressiveness. Five strong stars.

4.5 stars. This is my album of the year for 2020 a year I find very weak but I have an awesome top three with SONAR and Hedvig Mollestad's releases that year. Although I'm bumping this up from 4.5 stars it is incredible to me not to have one true 5 star record for that entire year. Covid's influence showed up in 2020 but 2021 made up for it in my opinion, a very solid year. I have felt a connection to this band for various reasons. I got into Prog about the same time they released their first official record "Hinterland" and was completely intrigued with it.

I got this album within 2 months of buying Prog for the first time and I found it difficult as at that point I hadn't even heard an Avant or Zeuhl or experimental album. Yet the mellotron and vocals really hit the spot for me. I also connected with that picture of the band in the liner notes for "Hinterland" with five long hairs standing out in the cold and abundant snow that this Canadian can relate to. But five albums in 15 years? I mean that's ANEKDOTEN-like isn't it? And how about the buzz for this band in 2005, they hadn't even released their first album "Hinterland" and Nearfest invited them to play that year, the word was out.

These guys would turn out to be like the reincarnation of ANGLAGARD, SINKADUS and ANEKDOTEN but from Norway not Sweden. In fact their 2 song demo release in 2003 screams ANGLAGARD and those two tracks would show up on their second release "Afterglow" but re-recorded. I still remember driving my 20 year old daughter up the mountain to her friend's place listening to "Hinterland". I was infatuated with their sound.

So "Hinterland" and "Afterglow" featured the same lineups before "Rites Of Dawn" hit us with a new singer sounding a lot like Jon Anderson, in fact the first half of the album sounded a lot like YES, too much but I did get over that strong flavour. A new guitarist for their masterpiece "From Silence To Somewhere" who continues here and we get a guest violinist on this record.

The standout track for me here is the side long "Merry Macabre" at 19 minutes and talk about some incredible passages! That mellotron and upfront bass hit us like a storm at times. I mean after 11 minutes we get hit hard as it turns dark and more powerful as we shield ourselves from that storm. "Naiad Dreams" is by far the shortest piece at 4 1/2 minutes and the best part is when the vocals step aside before 2 minutes and the mellotron comes to the fore.

The opening two tracks of this four song record really set the stage. The opener "By The Banks" hits the ground running with organ over top before vocals and mellotron arrive. Some ground shaking bass here then another calm as they continue to contrast the light and heavy. "Five Rooms" contrasts the uptempo and slower moments well and I just about fell over hearing the Canterbury organ at 5 1/2 minutes but again the mellotron is such a treat here.

Many seem to have been turned off with that YES vibe starting with "Rites Of Dawn" but these last three studio albums along with ALL TRAPS ON EARTH from 2018, ANEKDOTEN's "Until All The Ghosts Are Gone" from 2015, SHAMBLEMATHS "II" 2021 and JORDSJO's "Jord" from 2015 have all scratched that retro/ mellotron itch that I seem to have a chronic problem with.

8th January: Wobbler - Dwellers of the Deep (symphonic prog, 2020)

So-called "symphonic prog", or to those not in the know, "the style of prog big in 1973 with loads of organs and theatricality", is a style that seems impossible to pull off in a modern context. Loads try it, mostly old men trying to reclaim their youth and sound like their idols, and most miss the mark. Superficially, there's not much different - the songs are virtually dead ripoffs of Yes or Genesis or Camel, and yet haven't even got a tenth of the quality or soul of those artists.

But perhaps the best way to work that out is to look at the exception. Because this is absolutely awesome. It's a modern symphonic prog album in the vein of the classics, like all those other artists, but it doesn't suck. Why? How is this possible? I think for me, it's because there's some balls to this music. There's some grit, anger, punchiness, and most noticeably - youth. Wobbler are no spring chickens, but they do a decent impression of one, with hard- hitting riffs, energetic performances, and the constant inclusion of top-shelf melodic parts, remembering that prog is often at its best when being pop in disguise.

This is no masterpiece, but it's such a stark contrast to all the other symphonic prog bands who all sound like they're in a retirement home lunchtime entertainment band. Yes and Genesis were young at their peak, and had a youthful energy that Wobbler have at least attempted to emulate here. It's the closest you'll ever come to that magic again.

7.5 (8th listen)

Part of my listening diary from my facebook blog: www.facebook.com/TheExoskeletalJunction

Wobbler are indisputably one of the top dogs of the modern progressive rock scene, and I quite like them. However, I view them as one of the most overrated acts out there. They're certainly not bad, not by a wide margin. Nevertheless, From Silence to Somewhere (their 2017 release) is ranked 28th all-time on Prog Archive's list of the top prog albums, which is ridiculous. It's a very good record which cracked my personal Top 10 that year, but it certainly ain't the 28th-best prog album of all time. At time of writing, Dwellers of the Deep ranks 52nd on that same list, and that's even more egregious. (That list, aggregated off user reviews, has all kinds of other odd inclusions and exclusions, and I've got my own gripes about that site's users' biases.)

I also find the progosphere's eager deference to this band off-putting, and I've witnessed an awful lot of hand-waving at just how Yes-y they've become over their last few albums. Their Yes-iness isn't an inherently bad thing. Rites at Dawn is my favorite of their records, and that is arguably their most blatantly Yes-like release. But after a while, such obvious aping of another act's sound does begin to wear thin, and Yes varied their sound more than Wobbler have. To reiterate: I like Wobbler, but I don't view them through the same irreproachable lens that many other prog fans seem to hold.

Now that I've gotten my expository rant out of the way, I can address the album at hand. Dwellers of the Deep is this Norwegian quintet's fifth full-length release. Upon first listening to it, I was struck by the fact that I could identify no appreciable differences between this album and From Silence to Somewhere. The sound palette hasn't been shaken up, the albums' structures are similar, and the melodies feel too familiar?bordering on re-trod. However, the strength of Wobbler's baseline sound is such that even with these considerations in mind, Dwellers of the Deep is still a pretty good record. Not amazing, but pretty good and worth listening to.

"By the Banks" opens the album on a bombastic note, and Wobbler's bombast has always been their strongest mode in my book. The organ playing is more reminiscent of John Evan of Jethro Tull than of anyone Yes ever had, which is a nice change of pace, but the verses are weak. The melody feels forced and unnatural, and the instrumental backing lacks any real muscle. Much of the middle of this 14-minute song is instrumental, and it's something of a mixed bag. Good ideas are mixed in alongside themes and riffs which should have either been refined or cut altogether.

Following this is Dwellers' pre-release single, "Five Rooms". It opens with warm organ, Mellotron, and wordless vocals before gradually building toward another frenetic riff that sounds like it was written by Chris Squire. This song, similar to the first, is a mix of strong ideas and half-baked melodies that ultimately fail to land. The song's closing minutes strongly channel Phideaux, but that's not quite enough to save it for me. These first two songs feel somewhat scattered and unfocused.

"Naiad Dreams" is an insufferable, torpid four-and-a-half-minute acoustic dirge. I hate it. This might be Wobbler's worst song. It drips along slowly, seemingly never-ending, with almost nothing in the way of instrumental variation. I tried to couch my criticism of the first two songs by pointing out that each have good ideas, but this one is a waste.

Up to this point, Dwellers has felt like something of a disappointment. Two mixed bags and one snoozefest do not a strong release make. Thankfully, the 19-minute "Merry Macabre" ends this record on a strong note.

After a brief piano intro, distorted organ launches this song into an aggressive, askew riff which feels fresh. This eventually dissolves into ominous walls of organ and wordless vocals. This foreboding atmosphere continues for a while before transitioning into a rapid, twisting guitar line. Jazz and blues elements pop up in the rhythm and organ line. A jangly guitar line acts as the backdrop to gradually escalating keyboards and percussion, both of which inject impressive drama. There are a million ideas in this song, but it somehow holds together. This might be Wobbler's best individual song of their career.

Wobbler's fifth album is somewhat patchy, featuring both extreme highs and extreme lows. "Merry Macabre" is what elevates Dwellers of the Deep from decent-but-skippable to something worth checking out. I doubt I'll be listening to the first three songs on this album with much frequency, but I can foresee myself revisiting this closing suite quite often.

Review originally posted here: theeliteextremophile.com/2020/11/23/album-review-wobbler-dwellers-of-the-deep/

I would consider this album to be one my favorites so far from the 2020's. This album starts off with the excellent "By The Banks" this song reminds me of Yes a lot. The keyboards truly shine here. The ending of this song is truly one of my favorite parts on the album. Five Rooms is a great single and shows the bands great talent. I love how this song progresses. The next song " Naiad Dreams " is a beautiful ballad and fills me with lots of emotion. Great vocals too. The last song "Merry Macabre" is the epic of the album and is honestly Wobbler's best song.this song is Dark, Beautiful, mysterious and stunning. This track takes you on a sonic journey. Overall I feel this album is Wobblers best and I love how this is album lots of "darker" moments throughout it. Whenever wobbler writes darker music it is fantastic.

Dwellers of the Deep finds Wobbler continuing to mine the vein of retro inspiration and modern execution which yielded such good results on From Silence To Somewhere. As on that album, the overall sound is reminiscent of Yes jamming with Gentle Giant (think Yes textures laid over Gentle Giant rhythms), and if you're much of a proghead I probably already persuaded you to give it a shot just on the basis of that comparison.

If you need more insights, though, perhaps I'll note that this seems to go into slightly spooker or more anxious territory than its predecessor; some of the quieter and more pensive moments on here remind me of the similarly quiet and foreboding moments that Discipline often work into their compositions. There's also a good dose of modern sounds, with pulsating electronic terrors unleashed towards the end of closing epic Merry Macabre. As far as I am concerned, Wobbler are right at the top table of present-day prog, and Dwellers is a capable defence of that position.