THE CONTINUATION

Continuation is the second offer of this excellent band, issued in 2013 and is as title said a fairly great continuation of previous album. The bands needed 3 years to come with this release, and belive me worth the wait. The album has only 5 pieces and keeps the high level of the previous album in terms of musical arrangements, with each pieces shining. I like that the band has their own sound with intresting varied instrumental sections they not copying anyone. The music as on previous album is a nice complicated eclectic side of neo prog, well balanced and with catchy memorable parts. Again is present a giant piece with 25 min of greatness and inventive arrangements. Love the vocal parts aswell here as on previous album, is quite different then is to be heared everyday. is a deep with nice tone that fits perfectly in this kind of music. Again not a weak moments here, my fav track being The masque with excellent lyrics and construction of the passages, really nice, the rest are solid to. All in all another worhy addition in today prog scene, The Windmill , at least for me is one of the most intresting bands around for sure. I like'em a lot and are among my fav bands in prog aswell. 4.5 stars easy, a nice mention is , the art work wich is again excellent made by same Kirsten K, Viita the wife of the keyboardist. Recommended band, both album are top notch.

The Windmill is a 70's spirit Progressive Rock band from Norway. It was formed in 2001 by Jean Robert Viita (vocals and keyboards), Morten Clason (vocals, sax, flutes, guitars and keyboards) and Arnfinn Isaksen (bass). Bent Jensen (guitars), Vidar Kleivane (drums) and Erik Borgen (vocals and guitars) complete the band.

The Windmill released their first album 3 years ago with the funny name To Be Continued? (2010), so it's not that weird that their new and second album is called The Continuation (2013). Recorded in the Prog Shack Studio and produced by the band itself, The Continuation (2013) comes in a pretty digipack edition with stunning art by Kirsten K. Viita.

As I said, The Windmill follows the 70's road and it does it with passion. The Continuation (2013) is a clear example of that. To begin with, the album has 5 tracks, and it is a mirror of the old Prog Rock LPs: 2 short songs, 2 medium-length ones and 1 epic. Nothing strange that the album was also released in Vinyl.

'The Continuation' kicks the CD in as an instrumental piece and you soon know that the album will be good. By the time you come to 'The Masque', the second track, the Norwegian band has got you already. Ok, I confess, I have some problems listening to Morten Clason vocals on this 'The Masque'. Maybe because of his diction, but as the instrumental goes on everything else is forgotten, especially when it comes to the guitar parts, some amazing work.

The third track 'Not Alone' has a quite different beginning, evocative. The band works with 3 vocalists, which has always been my favorite kind of line up. On this track they have Erik Borgen vocals, and it immediately became my favorite. Once again, superb guitar parts joined forces with Morten flutes. 'Giant Prize' closes the first part of the album with a bit of Jethro Tull sound but it isn't that great of a track.

The epic role has a name, 'The Gamer'. The song deals with the new technology and how some people can be attached to some electronic games so much, even to the point of addiction. In the first two parts of the track, 'I ? Open Your Eyes' and 'II ? Don't Want To Leave This Room' we have Erik Borgen vocals. In the third and final part 'III ? One Way Out' we have Jean Robert vocals. Double guitar solos, space synths, heavy parts and some good bass and keyboard parts. Amazing track!

The Continuation (2013) is a great album for any Prog Rock fan! The production on the album sometimes has a few flaws, especially in the drum parts, but the general feeling is great.

The Windmill is a band that you should definitely catch your close attention.

(Originally posted on progshine.net)

Three years ago Norwegian outfit The Windmill released their debut album with the intriguing title 'To Be Continued' and now they are back with the follow-up, hence the title. I haven't heard the debut, but it looks as if I am going to have to as this has simply blown me away. I wasn't sure if this was an instrumental act at first, as the first song has no lyrics at all, but in truth what we have here is a band that are equally as comfortable providing long instrumental passages that work incredibly well within the structure, or to have a singer fronting the band. In many ways this feels very much like a Seventies album which is down to the techniques and styles being deployed as much as it does the sounds themselves (I fall for a Hammond organ every time, it has such a great warm sound).

The guys have brought together a great mix of influences such as Alan Parsons Project and Camel, and have also managed to successfully use a flute without coming across as a Tull clone. There may only be five songs, but when the closer is some 25 minutes in length then they can be forgiven.

It is incredibly well structured, with instruments brought into the mix as and when it is required, for example in "The Masque" (the second longest song on the album at 12 minutes) there is a passage where there are just a few bars of acoustic guitar before the electric takes the front with a solo that has far more in common with neo-prog and hard rock than kit does with symphonic prog. There is no doubt that these guys are in love with the style of music being produced forty years ago, and who isn't? But this isn't some half-cocked homage, but instead is a complete immersion in the style and there is a feeling of honesty and being genuine to themselves and to the genre that is sadly missing sometimes.

This is a great album, and one that I have enjoyed playing immensely and I am sure that many progheads will feel the same way. www.thewindmill.no

I think I found a new love, a windmill of all things and I am no Cervantes, though I do enjoy the art of writing, as it will always be the most perfect form of articulating one's thoughts and feelings, bar none. It only requires words. But I admire creative musicians who have carved out their own style and these Norwegians lads seem to be on the right path, after having entered the Progworld with their "To Be Continued?" debut in 2011. Well, they did continue and we are now blessed with a clear and concise "Continuation". It's also a massive leap forward and as good as the first album was, this is an outright killer. The quest for intricate arrangements and profound melodies is achieved with a superlative effort, combining Norse folk, classic symphonic prog, strong sax and flute interference emitting a heady Traffic mode, a little structural edge that hints at RPI with all the ornate coloration. The singing is intense and while perhaps not perfect, it gives the music a natural sheen.

But it's really the instrumentalist that shine, the quality of their craft is beyond any reproach. From the sharply honed bass guitar rumble and the obedient drum patterns, keyboardist Robert Jean Viita spreads some fabulous sound carpets such as his Hammond and synth solos on "The Masque", an eloquent epic piece that follows the intro title track adaptation off the debut's finale (I love that premise, Mostly Autumn did the same on their first three discs), makes for eternal continuity. Some of the best prog you will ever hear, just when a Spanish guitar solo comes and steals your passionate heart, caramba! Segue that with a blistering electric lead and this fan is done, cooked! Simple, timeless and beautiful. To then continue on with perhaps one of the finest ballads in recent memory, well? I like sad, melancholic, grandiose songs and "Not Alone "is just a prog Godzilla! Bruising and pile-driving rhythm power the neo-classical theme, led by a prancing flute and sophisticated piano, the voice has only to convey the dignified ache that permeates the lyrics and a delivery that has 'magnifique' stamped all over it. What a chorus, it's to cower in adulation. The flute sets the table and the guitar shrieks into action, careening crazily and in pain. Speaking of flute, the next brief piece "Giant Prize" is as close to a Jethro Tull chugger as can be, a full blooded slice of Anderson/Barre presumably in homage to the legends. It's fun and serves well as a little counterweight to the heavy melancholy before and after.

The finale is a gigantic epic of colossal size "The Gamer" , two dozen minutes of sheer symphonic bliss based on a rather distinctive premise, a video game addiction that quietly seems to affect millions of distracted youngsters (and a few older idiots !) and forcing upon them a lack of physical exercise or any mental bloom beyond fast reflexes. When done in moderation, its entertainment, when an obsession, the screen takes over and becomes God. The music is melodically exalted, fascinatingly strung together, led by the piper on the flute, aided by some scintillating guitar work by both axemen Borgen and Clason and abated by tremendous keyboard contributions. Also the sax likes to parallel the guitar blasts which give the sound an incredible amount of depth. The vocals are equally strong despite the slight accent, a trait which never bothered this reviewer. The plethora of melodies and intersecting riffs are splendid, keeping the listener always on edge, never quite knowing what is coming up next. Imagine a more aggressive Pink Floyd, with harsher guitars, heavy on the flute and sax as well as a modern outlook. In typical obsessive fashion, the bellicose main theme keeps coming back, highlighting the constant 'replay' demands that video games impose on their helpless victims. Just when you think it gets a little repetitive, honky- tonk piano and jazzy sax combine into a ballroom rumba in turn laying down the mat for a huge guitar solo, carnival atmosphere with more undulating sax and rocking piano. The final section gets quite bombastic, Hammond organ swirls amid the high-powered vocalizings. I like the voices used by both vocalists because it's real and not overtly polished, giving it some amazing credibility. 'One way out' he cries?? Nice.

The Windmill is a new player in the Neo/Symphonic stage and if they continue on this path, they will be highly successful at their craft. I along with many other reviewers will be keeping an eye out for these Norse craftsmen. "Not Alone" is on my playlist, amazing tune.

5 Don Quixotes

"Heavy Prog"? More like simple prog. I find the music, melodies and vocals of The Continuation simple, rudimentary, repetitive, unnecessarily drawn out, tstraightforward, highly predictable and often quite boring ("When's something interesting going to happen?" or "When's this section going to end/When's it going to change or get complicated? I find myself thinking quite often while listening to this). Even the album's best song, the 24 minute epic "The Gamer" could be 1/3 the length and equally (no, more) effective. I'm sorry, guys, but I would not recommend this except as a challenge to find out for yourself whether or not you find this music exciting and worthy of repeated listening. For me, this is 2.5 stars--even the production quality is questionable--I'm not even sure whether or not it is "good."

The Windmill are a fantastic bunch of musicians hailing from Norway and this is their second album "The Continuation". From the outset the album shines with some of the most accomplished virtuoso musicianship of recent years; Jean Robert Viita (keys, vocals), Erik Borgen (guitars, vocals), Stig Andre Clason (guitars), Morten Clason (sax, flute, guitars, vocals, keys), Arnfinn Isaksen (bass) and Sam Arne Noland (drums). The opening title track (3:16) is stunning with gorgeous layers of flute, and an ambient texture that has an ethereal quality. This pastoral instrumental is a beautiful relaxing melody and hooked me with its powerful harmonies. My eyes were watering such was the beauty of the melody.

This is followed by the epic composition 'The Masque' (12:50) with very pleasant soothing vocals, melodic piano, and an instrumental breakout that has a glorious guitar solo and wonderful flute and keyboards balancing out the measured percussion and bass. The chorus has an infectious melody; "The Masque can help you to escape from yourself, The Masque can take you away." The soundscape has a peculiarly 70s vibe especially with the grinding Hammond and overall essence. Again, I was simply blown away by the musicianship and structure of the music. 'Not Alone' (9:12) is a quiet balladic song with some angelic piano chimes and lilting flute floating on layers of bass and drums. The vocals are crystalline and emotive, drawing me into the melancholy of the lyrics that centre on loneliness and assurance that there is an answer and a way out. The verses lead to a mind blowing lead guitar solo that soars over a descending melody, with Hammond and flute layers. The vocals return to a higher register; Viita's vocals are impressive with their towering presence.

'Giant Prize' (3:17) is a faster track and the flute is more like the Jethro Tull sound. The harmony actually sounds familiar like an old 70s song, reminding me of Tull the funkadelic reggae rhythm, is agreeable. I love that flute phrase and the way the song switches time sigs to some gorgeous harmonies. The flute and lead guitar break is delightful and then the track moves into a key change. It sounds a lot more commercial that the rest of the album like a single, but this is a great little song breaking up the longer epic pieces.

'The Gamer' (24:42) is the last track and I was actually sad that it was drawing to a close. Then I checked the running length of this and was pleased to see it was a mammoth epic clocking 24:42! Time to sit back for some heavenly headphone bliss. The Hammond pounds out for a while then it breaks into minimalist piano, a pretty melody on flute accompanies, and already I am drawn into this masterful instrumentation. The vocals come in with a melody that has a Marillion quality. I love the vocals, so pleasant and clear, every word is intelligible, and it makes such a difference when you can relax into the lyrics "you'll soon get used to it and the wonders will fade, will this be the end of the day, you need to come with me, you need some help to forget.. open your eyes". The harmonies sound a bit like vintage Pink Floyd, and there are some beautiful images in the lyrics such as rivers, sky, and peaceful landscapes. Eventually the song switches into an instrumental break with swathes of buzzing synths and electronics. The lead guitar takes flight over the measured rhythm, with synths swooping down maintaining a strong melody. The phased effect on the guitar resonates nicely and the track builds up with a wall of sound dominated by keyboards. Suddenly a heavy distorted guitar riff chugs into gear, and the song returns eventually to the main melody heard earlier.

At 9:30 the track changes time sigs with Hammond pads, tinkling piano and a chunky guitar riff striking at the heart of the sound. A heavier guitar instrumental blasts through eventually, and the song takes on a darker quality. The lyrics are more forced and the vocals make it clear; "don't you know who I am?.. I don't want to leave this room.. please just leave me.." The guitar domination is offset by a nice woodwind section, and a piano presence that at times sounds dissonant with irregular rhythms that somehow merge into the heavier textures. At 15:40 the song cruises into jazz cabaret mode with wonderful saxophone sounds and a jaunty rhythm. That rollicking sound is enhanced by honky tonk piano and a solid gold performance on lead guitar and sax. At 18 minutes in the sound returns to a metal sound with distorted riffs and a glorious shimmering Hammond. The lyrics are intriguing; "A feeling of reality somehow hits my mind, suddenly I understand I really haven't died, a slight achievement.. I tried to but I really couldn't manage, I wanted to but the games had all the advantage". The music sounds like Procol Harum in a sense especially the keyboards. Drawing to a close, the track has moved into many twists and turns, but finally culminates in a Hammond and guitar feast for the ears. A masterpiece track on this brilliant album; really the icing on the cake when it comes to the full on progressive approach by The Windmill.

This album really took me by surprise, as I was just after a casual listen to some prog on a Sunday afternoon. I did not expect this to be such a stunning piece of musicianship with some of the most mesmerising melodies that have caressed my ears. On subsequent listens it grown even stronger on the ear. The gorgeous flute passages, the calming atmospheres, the harmonies, the incredible lead guitar that howls to the stratosphere, the intense epic, and soothing vocals with infectious melodies; it was overwhelming to my senses. This is a masterful achievement from The Windmill, and comes highly recommended as one of the best releases of 2013!

Appropriately enough, The Windmill have followed up their debut "To Be Continued" with The Continuation. This Norwegian outfit have a knack for playing compelling progressive rock with a combination of a 1980s neo-prog atmosphere and 1970s instrumentation - particularly when it comes to Jean Robert Viita's keyboard performance. There's a clarity of production to it which helps it feel fresh and modern, and whilst some may find that distances the material from the aesthetic of the prog of prior decades that inspire the Windmill, equally it teases out the band's best qualities. The main setback are the vocals, which have the slightly awkward air of words sung by someone who isn't singing in their native language, and isn't 100% confident singing in the language the lyrics are in.

THE WINDMILL are a six piece band out of Norway and this is their second release. Considering i'm the first collaborator to give this album less than 4 stars should give you cause to take my opinions with a grain of salt. It's a proggy album with sax and flute along with the usual instruments. I don't know, this recording just doesn't do a lot for me but having said that clearly many Prog fans love this album.

"The Continuation" is led by flute and piano early on before a full sound kicks in around a minute with drums and guitar leading the way before the flute returns. Some nice guitar over top after 2 minutes in this opening instrumental. "The Masque" opens with piano before flute and strummed guitar takes over as the vocals join in. Synths come and go then we get a change before 5 minutes as it speeds up and becomes fuller sounding. I much prefer the tune up to this point with the vocals and mellow sound. Some aggressive organ runs come and go as the guitar solos. A flute solo before 7 minutes and I like the brief vocal melodies a minute later. The song continues to shift and change the rest of the way. "Not Alone" has spacey synths and a dark rhythm as the flute joins in. It's building as drums and more join in. It then settles back after 1 1/2 minutes to the original sound. Vocals arrive before 2 1/2 minutes as we get a ballad-like section here pretty much to the end.

"Giant Prize" is one I don't like even a tiny bit as we get this Reggae beat with vocals. "The Gamer" is the closing epic at almost 25 minutes in length. Some nice soaring guitar, spacey synths and drums lead early on before a calm arrives with piano only after 1 1/2 minutes. Vocals will follow and it stays laid back. Relaxing guitar after 6 minutes and it will go on and on then the vocals return before 9 minutes. It turns more powerful 12 minutes in and the vocals that follow are more passionate as well. A lighter almost humerous instrumental section follows then it turns heavier after 18 minutes before settling back with vocals to the end.

This just doesn't grab me for some reason but I appear to be in the minority with that opinion.