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DAY AND AGE

Frost*

Neo-Prog


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Frost* Day and Age album cover
4.17 | 122 ratings | 11 reviews | 36% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2021

Songs / Tracks Listing

1. Day and Age (11:49)
2. Terrestrial (5:12)
3. Waiting for the Lie (4:31)
4. The Boy Who Stood Still (7:33)
5. Island Life (4:14)
6. Skywards (4:15)
7. Kill the Orchestra (9:27)
8. Repeat to Fade (6:15)

Total Time 53:16

Deluxe edition bonus CD:
1. Day and Age (instrumental) (11:36)
2. Terrestrial (instrumental) (5:13)
3. Waiting for the Lie (instrumental) (4:33)
4. The Boy Who Stood Still (instrumental) (7:36)
5. Island Life (instrumental) (4:05)
6. Skywards (instrumental) (4:15)
7. Kill the Orchestra (instrumental) (9:27)
8. Repeat to Fade (instrumental) (6:09)
9. Day and Age (edit) (5:02)

Total Time 57:56

Line-up / Musicians

- Jem Godfrey / vocals, keyboards
- John Mitchell / guitars
- Nathan King / bass

With:
- Pat Mastelotto / drums
- Kaz Rodriguez / drums
- Darby Todd / drums
- Jason Isaacs / vocals

Releases information

Label: InsideOut
Format: Vinyl, CD, Digital
May 14, 2021

Thanks to mbzr48 for the addition
and to projeKct for the last updates
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FROST* Day and Age ratings distribution


4.17
(122 ratings)
Essential: a masterpiece of progressive rock music(36%)
36%
Excellent addition to any prog rock music collection(34%)
34%
Good, but non-essential (16%)
16%
Collectors/fans only (9%)
9%
Poor. Only for completionists (4%)
4%

FROST* Day and Age reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by lazland
PROG REVIEWER
4 stars Day And Age is the fourth studio album released by Frost*, that now long established vehicle of Jem Godfrey, perennial performer John Mitchell, and Nathan King. On this 2021 release, we have three drummers appearing, but unlike the triple-headed monster that is King Crimson, Pat Mastelotto (of that triple-headed monster), Kaz Rodriguez, and Darby Todd do not all play at the same time. Completing the line-up is Jason Isaacs, an actor whose main claim to fame in the Laz household is the fact he played the original captain on Star Trek Discovery. I am pretty surprised that I am the first Collaborator on PA to submit a review, because the band are considered, rightly, one of the more important UK bands to have emerged in the 2000's.

Humour is a sometimes difficult tool to use in music, and especially in the altogether "intellectually superior" world of progressive rock. So, when a charming young female English voice proclaims at the commencement of the album "hello, and welcome to the rest of your life. Before we begin this short journey, please sit back, relax, and remember, enjoy yourselves??..You Scum!", you either raise a chuckle, raise your eyebrows, or think to yourself, oh yeah, that's me, raise a glass to the scum making up the plebian classes of modern life. In my case, in fact, all three!

This interesting narrative moves into a nearly 12 minutes of very enjoyable modern prog as the title track blasts through your stereo speakers. The lyrics and rather dystopian tone of a thunderous beat suggest to us that we are not living and dying in a particularly progressive or positive age, and that for poor old humanity, the writing is indeed on the wall, lyrics which could easily have been written by a certain Private Fraser of Dad's Army fame. We're doomed, doomed, I tell ye! There follows a very enjoyable mid-passage in which the participants seem to musically circle each other and we the listeners, and the riffs created are deeply impressive, and special mention for Rodriguez who really does belt out the drums here. The sense of menace is heightened by the return of our young lady who ethereally voices her ubiquitous charm over the pounding riffs. The pace, if anything, quickens to a pulsating crescendo as the track ends. Extremely impressive, and as good as anything this band have done.

Those of you who enjoy Mitchell's Lonely Robot projects will find much to enjoy and recognise in Terrestrial. Godfrey's keys portray more sense of deep foreboding and there is a crushing guitar riff at the forefront of a very heavy piece of music which also contains far more subtle and quieter moments, and never fails to capture the attention.

This is followed by Waiting for the Lie, which brings us down somewhat from the freneticism which preceded it. The vocals are spacey, and the piano and electronic effects at the heart of the melody provide a satisfying contrast and a very good piece of music. At the end, our now familiar young lady exhorts us all to "wake up!", presumably just in case you have been lulled into a psych state of musical or drug induced stupor, and, indeed, quite possibly both at the same time of asking.

The Boy Who Stood Still is a story, narrated by Captain Lorca, of a boy who can, erm, stand completely still and observe the human races' many foibles in a suspended state. Godfrey creates a fascinating soundscape underneath all of this, and the basslines of King are particularly thunderous supporting both the narrative and some very good vocal harmonies. The closing section is heavy with the harmony vocals very powerful, before we are exhorted once again to "enjoy yourselves", this time by a lady of the American persuasion. A very clever track.

Island Life follows, and this is another pulsating heavy track, with lyrics now repeating the familiar refrain to enjoy ourselves, this time on our holidays, but the mood amplified by the swirling keys, looping bass, and thumping drums do not really put one in mind of a relaxing time on the Mediterranean beaches. Skywards is a relatively shorter track, downbeat but a fascinating listen with the virtuosity Mastelotto brings to the drum and percussion department. In fact, this is a track I believe could quite easily sit alongside the later Crimson industrial musical phase.

Kill The Orchestra continues this downbeat, some might say rather bleak, mood, although the music which creates this is about as diverse as it gets. It opens with a gentle vocal and simple piano arrangement, although the statement that we should kill the orchestra as they are dying anyway is not particularly guaranteed to cheer one up. As the piece moves into its main body, there is a lovely rhythm created before we are hit by a thunderbolt of alternate industrial metal riffs and the return of those gentle loops. This is a track which absolutely keeps a hold of the listener because you never really know where it is going, and I say that in a positive way. A deep bass voice advises the listener to "relax and enjoy yourselves" once again towards the close, and this does lead us into a beautiful passage of music led by swirling keys and a delicious, albeit far too short, pastoral guitar solo. Indeed, a reasonable criticism I would put out here is that the album might have been more complete with some extended examples of this.

Closing proceedings is Repeat To Fade, and this is hypnotic stuff, albeit something that might be considered as something out of your darkest and scariest nightmares. We have the main lyric of the song title alongside some very dark sound effects, screams, and operatic resonances, all underpinned by more thundering drums (Mastelotto again) and bass, but, once again very cleverly, interrupted by some perfectly lovely passages. As all this builds to a final manic two-minute crescendo of noise, and we have a psychotically bonkers voice shouting at us "enjoy yourselves! Everything is ok, you scum!"

This review is of the first cd of a Deluxe Version. CD2 contains some very impressive instrumental versions of the main body of work.

This is not an album for the fainthearted. The initial humour I described at the top is pretty much gone by the end, and what we have here is a rather dystopian view of the world, which most certainly should not be listened to intently when one is experiencing a negatively life changing experience ? we might never see you again! It is a very good rock album, and it is altogether marvellous in its execution, production, and ability to hold our attention, but, by God, it is rather bleak, and perhaps not the type of album which a young Jon Anderson with his hippy perspective on the universe would have imagined progressive rock in 2021 to be about.

Four stars, and recommended, but do, please, put on Time And A Word after, if only to pick yourselves up off the floor and get going again.

Review by Roland113
SPECIAL COLLABORATOR Honorary Collaborator
5 stars Ok, I'm going to start with the wow factor. This album spoke to me more than any album has probably in like a decade. This album is so good that I'm writing my first review since 2015.

I've been a Frost* fan since I discovered them in '06, Milliontown is typically on my top ten albums list and they're one of those bands that I always make a point to check out when a new album comes out. So, I decided to give this one a spin a month or so ago. Immediately, I'm pulled in, the album just said 'Hello' to me, it's addressing me specifically . . . ok, I'm intrigued. Then it insults me, 'You Scum!' and I'm like, 'hey, let's not get personal here'.

And then the music kicks in. It's driving, the guitar is poignant, and then the lyrics kick in and the echoing 'who am I, who am I' resonates with me. In 2021, we've gone through so much history in the past year and a half, that I think we're all asking who we are. . . and suddenly I have a voice to my inner thoughts. 'We're living in a dying age, when the writing's on the wall, and we're burning with a quiet rage'. . . . ok, I'm hooked. I love everything about the opener.

The next songs are good and keep me interested and I'm kind of bopping along, then comes 'The Boy Who Stood Still' and again, I'm hooked. I need to hear the story of this boy, I'm hinging on every word narrated by Jason Issacs, the voice is perfect for the song, and the production is spot on. I loved the story and frankly, this is probably the most hopeful part of the album. Listen to the call back at the very end of the album, I think the 'can you hear me' question has got to be the boy from this song.

I think you can make a case for the last four songs to be an epic of . . . well, epic proportions. Throughout the entire back half, a lot of themes are repeated, and the songs show a certain consistency, aside from just the repeated order to 'Enjoy Yourself'. Island Life is this happy, jaunty song about vacation and the joys of holiday and how you'd better f'ing enjoy yourself or else. Skywards sounds like a reprise to Island Life with tones of the epic cacophony yet to come. In addition, the lyrics are a deliciously dark statement on blaming God for your troubles, 'What's skywards is not to blame'. On the epic theme, the keys in the chorus are a precursor to 'Kill the Orchestra'.

'Kill the Orchestra' starts off softly, but again, the bleakness of the lyrics shine through, 'Kill the orchestra, we're dying anyway.' This song takes you on an emotional crescendo building up to about the six-and-a-half-minute mark when it drops down and we are again reminded to 'Relax, Everything is OK, Enjoy Yourselves' as we enjoy a musical call back to the opening track. We get a tasty John Mitchel solo towards the end of the song, which only serves up the final track, giving us a glimpse at the 'Repeat to Fade' motif.

Then holy smokes, 'Repeat to Fade' gives me goosebumps. This song has everything going on in it, crashing guitars, Middle Eastern vocals clashing with angry screaming, trippy keyboards and again, the order to 'Enjoy Yourself . . . You Scum'. I cannot fully describe how much this song speaks to me. It's not a happy song, it's as dark and bleak as we get and a perfect coda to the album.

If you're looking for a happy uplifting album, this isn't it. If you're looking for something that captures the ennui and sense of helplessness of Gen X in 2021, then this may be your prog anthem. Is it a fun album, no, but it's an album that makes me realize, that I'm not alone. With a relevant theme, a fantastic mix and spot on musicianship, this album is gripping. Oh, and I almost forgot.

ENJOY YOURSELF, EVERYTHING IS OK . . . YOU SCUM!

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
4 stars A Return to Milliontown?

Day and Age is definitely a step away from the lean, compacted, futuristic song constructs that Jem and company presented to Prog World in 2008 with their sophomore collection of songs, the exciting-though-jarring Experiments in Mass Appeal. In 2016, principal collaborators, Jem Godfrey and John Mitchel, teamed up with Nathan King and drummer Craig Blundell to create another collection of high-powered, compressed, and highly computer-edited songs on Falling Satellites, a good though, sadly, forgettable Crossover product. Here it almost seems as if the wintery gents are trying to get back to the heavier, drawn out Neo Prog forms they initially explored with their wonderful 2006 debut, Milliontown. Jem, John, and Nathan have here added some interesting drumming collaborators to present a very atmospheric and often heavy, though also, at times, symphonic compendium of expression.

1. "Day and Age" (11:49) Despite it's driven fast pace and heavy chorus, this song owes much to Peter Gabriel-- especially "Red Rain." The drumming seems pressed, the guitar work quite reminiscent of that of TOTO's great Steve Lukather, the bass like Tony Levin, and the layers of keys awesomely agreeable and not-over-produced-- though often Fender Rhodes driven á la M. Gabriel. I like, and feel engaged by, the non-lead vocal, instrumental sections of this song--even the foreboding section in the ninth minute with the children's choir singing, while the main vocal sections are just okay--are greatly saved by the Phil Manzanera-like guitar work and driving bass and drum lines. (22/25)

2. "Terrestrial" (5:12) despite great keyboard and guitar work, this is a rather generic, cookie cutter, power Frost* song. (8.5/10)

3. "Waiting for the Lie" (4:31) opens with a jazzy piano sequence of arpeggi over which a David Gilmour-like vocal is whisper-sung. A symphonic mid-section softens for a chorus vocal and a shift into a PORCUPINE TREE-like mood as drums and bass effectively join in as Jem's vocal soars and amps into an emotional crescendo. Nice. (8.75/10)

4. "The Boy Who Stood Still" (7:33) narrated by actor Jason Isaacs (Mr. Darling/Captain Hook on 2003's Peter Pan; Lucius Malfoy in the Harry Potter film series; Hap Percy on The OA), The Boy definitely presents an interesting, intriguing story--a kind of flip-perspective take of The Invisible Man. The music is great--with Tony Levin-like bass, driving Manu Katché-like drums, and layers upon layers of keyboard and effected guitar work. M. Isaacs has an awesome voice and approach to this performance--quite powerful and effective in an Orson Wells/Jeremy Irons-like way. And the music is dynamic, exciting, providing excellent background even though it remains surprisingly busy and nuanced when M. Isaacs is speaking and also quite interesting and dynamic in its own right when it is the primary feature. My first top three song and, in my opinion, the best song on the album--and one of the best songs I've heard from 2021. (15/15)

5. "Island Life" (4:14) media samples open before Jem's PETER GABRIEL treated-raspy voice enters to introduce the song. The band jumps in with nice enthusiasm and impressive pace and skill. Nathan King really shines, for me. John Mitchell's guitar work is nicely subdued in its support role and the drumming is right in the mix. The song is apparently about nuclear weapons and radiation poisoning--delivered by an adequate vocal performance. What is surprisingly low key here, are the keyboards! (8.5/10)

6. "Skywards" (4:15) Here Jem Godfrey's vocal sounds so much like Peter Gabriel--until the chorus and stronger parts when it becomes more like THE PINEAPPLE THIEF's Bruce Soord. Great dynamics, bass presence, nuanced drumming and, of course, keyboard mastery. A top three song, to be sure, though still bringing nothing new to Prog World. (9/10)

7. "Kill the Orchestra" (9:27) solo electric piano and palintive vocal for the first two minutes, it sounds almost like a passage from a BUGGLES song. When the song kicks into drive in the third minute, Jem's voice takes on a JOHN MARTYN-like sound. Heavy Frost*/John Mitchell bridge between the first two verses of this section, it returns in the fifth minute to briefly support the chorus. Then the song shifts into a busier instrumental support to the vocals leading into another blast of the chorus before bridging into a spacious, creepy keyboard-based "What have we done?" section starting in the seventh minute and playing into 7:45 before shifting moods with thick, multi-synth chords. At 8:30 things quiet down as cymbals support some bass notes and Gilmour-ish guitar, Keyboard chord play, and (17.75/20)

8. "Repeat to Fade (6:15) bleeding straight from "Kill the Orchestra," it is obvious that this Pink Floyd/Peter Gabriel- like song is part of a two song suite. (Why were the two split apart?) The bass play sounds so TONY LEVIN-esque! And the chorus sounds so much like "We Do What We're Told (Milgrim's 37)." Another top three song for me despite it's Peter Gabriel and Frost* familiarity. (9/10)

Total Time 53:16

Had Peter Gabriel ever continued on a trend toward heavy prog, this might have been what he sounded like. I have to say that I prefer the enthusiastic drumming of an invested Craig Blundell (a highlight of Falling Satellites) to the paid contributors here. Jem is a master of multi-layering keyboards and I love the way John Mitchell's restraint and excellently nuanced rhythm work reveal more and more with each listen, but it's Nathan King's bass playing that really keeps me coming back.

B+/4.5 stars; an excellent addition to any prog lover's music collection.

Latest members reviews

4 stars Frost* are back... you scum! Neo-progressive and pop rock supergroup Frost*'s fourth studio album was released in May of 2021, some five years after the unusual but very successful 'Falling Satellites'. It has to be said from the get-go that every new Frost* release is a big event in the world of pr ... (read more)

Report this review (#2589216) | Posted by A Crimson Mellotron | Thursday, August 26, 2021 | Review Permanlink

5 stars I must say this record is brilliant! I haven't heard many albums that sound like this one. It's definitely going to be remembered as Frost's landmark in coming years because this is the first time they actually have a recognizable sound instead of being some average neo-prog that sounds similar to m ... (read more)

Report this review (#2582050) | Posted by Ian McGregor | Thursday, July 29, 2021 | Review Permanlink

5 stars Really thought it would be important for me to review this album since I've been a Frost fan for some time now, I will probably review their other albums soon. Frost has been a very consistent band. Milliontown was their debut and a very well deserved five star record in my opinion, the coming three ... (read more)

Report this review (#2580763) | Posted by King Brimstone | Thursday, July 22, 2021 | Review Permanlink

5 stars Yep, the best Frost album. I enjoyed this album from beginning to end, and I think the band is definitely becoming better and more mature, musically speaking. The album has a lot of disco influence that Frost combine with progressive rock, and it works very well. Stand-outs are the title track, Skyw ... (read more)

Report this review (#2580761) | Posted by Isaac Peretz | Thursday, July 22, 2021 | Review Permanlink

5 stars Well, I'm surprised. Frost did it. They randomly decided to make their first masterpiece out of nowhere, and one of the few neo-prog albums I would consider as such. I personally dislike neo-prog, with maybe a few exceptions like The Flower Kings. After all, grabbing a *progressive* music genre ... (read more)

Report this review (#2580649) | Posted by Gorgut Muncher | Wednesday, July 21, 2021 | Review Permanlink

5 stars FROST * was formed in 2004 and released a musical UFO in 2006 when I discovered them. Modern prog rock with such sizes; reminiscences of ARENA, KINO and a bit of IQ, a bit of high; an innovative sound flirting with electronic then more synthetic limit Devin TOWNSEND; 3 drummers from CHAKA KHAN, ... (read more)

Report this review (#2545407) | Posted by alainPP | Tuesday, May 25, 2021 | Review Permanlink

4 stars Lyrically, the glass was half full on Frost's last album, Falling Satellites. Day and Age finds a glacier at the bottom of a drained life. Day and Age (11:36) (10/10) - "We're living in a dying age, when the writing is on the wall" sums up planet wide pessimism. The music is compact, invoking ... (read more)

Report this review (#2542882) | Posted by omphaloskepsis | Saturday, May 15, 2021 | Review Permanlink

3 stars Got to say I don't like Jem's production style - dense, crispy, harsh, static sound. John's mix of last years Lonely Robot release was excellent. It's too bad he didn't mix this. So what is different about Frost* this time? Well, they have three drummers, not all playing at the same time ... (read more)

Report this review (#2542859) | Posted by Grumpyprogfan | Saturday, May 15, 2021 | Review Permanlink

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