INFRINGEMENT

This is the third album by Oslo-based progressive rock quintet Infringement, but it is the first time I have come across them although based on this I see I need to find out more. The idea of forming this project stems back to November 2015 when guitarist Stig André Clason (guitar, backing vocals), drummer Kristoffer Utby and singer Hans Andreas Brandal met for the first time. Clason was, and still is, a member of The Windmill, and those who have come across that band's latest album, 'Mindscapes' will know that Utby is now drummer in that outfit as well. The line-up is completed by Bård Thorstensen (keyboards, backing vocals)and Emil Olsen (bass, baritone horn, backing vocals).

Having seen some photos of the band in performance it is obvious that the music and words are just part of what they deliver as they are also a very visual band with the use of masks and costumes and are quite unusual in that all three albums to date have been concepts and all are set in the same universe so although the albums have quite different storylines they are somewhat tied together. This one follows a man's journey through faith, identity, and redemption. Raised under strict religious doctrines in a society that believes in divine salvation, he becomes disillusioned and abandons his faith. Running away from home, he embraces a new ideology and joins a seemingly perfect society. However, he also gets disillusioned with his new situation so escapes and returns to his father, seeks redemption, and returns to the beliefs he once abandoned. This is a story that many who were raised inside a religious environment can relate to as while plenty stay true to their faith there are many others who leave for multiple reasons. In turn some of those return, some look for spiritual guidance in other areas while, yet others decide following any god or gods is not for them. Whatever the final outcome, it can certainly be a traumatic experience which is never simple and musically the band capture all the drama as they take us on an emotional roller-coaster.

This is modern neo prog with riffing guitars that sometimes move us into prog metal, yet we can also be led by delicate guitars with a drummer who is happy to provide shuffles as he is full on menace and attack and a bassist who follows his own melodies to bring in additional threads or sits back and locks it all down. The use of synthesised instruments to bring in some orchestral notes here and there are particularly effective, while the keyboards can be modern or all the way back to the Sixties with a fat organ sound allowing the band to broaden their musical palette, and then at the front we have a master singer. Brandal is one of those singers who is happy performing in multiple styles, utilising his skills to ensure the themes from the music are carried through to the ultimate conclusion. He has a wonderfully clear style and the band's use of harmonies are very important, so much so that Stian Delbekk Johansen guests on backing vocals and in their live performances. This is a highly dramatic and polished album, which for me is a wonderful introduction to the world of Infringement. They have taken a deep and somewhat dark storyline, going through the emotions of the journey as the lost sheep returns to the flock, and have brought it to life in a way which is thoroughly enjoyable and full of passion. Powerful stuff indeed.

INFRINGEMENT band created by the guitarist of WINDMILL; a basic symphonic sound on ARENA, CAMEL and GENESIS as admitted reminiscences; it is the 3rd album which in my opinion goes on the heavy of PAIN OF SALVATION and the colorful vintage prog of Mr BUNGLE and other BIGELF; the synths and the lyrics leaning towards Neal MORSE.

"White Lies" in 5 parts, a text on the strict religious education of parents, on the heretical side in fact and the desire to escape from it; a piece with the announcing intro in phrasing and crystalline piano. The indoctrination is on its way and launches the conceptual sound, between heavy of time with haunting organs of time, a crazy air like FAITH NO MORE, prog metal. The siren choirs, the witch in heat, the hypnotic riff that plunges into the 70s for a while before extracting the best of them including this last velvety keyboard solo; Genesis-like break and participatory phrasing before launching a fat guitar solo between old neo, with the darkness and the warm vintage sound. The slap mixing neo with the old before leaving for another progressive space where Emil's bass throws sparks on the hot embers. A break of pure happiness with a reminiscence of DEEP PURPLE; a tenacious riff, an organ, the airy, refined rhythm and the enjoyable, orgasmic moment with this wild crescendo; the final vocal on the vocoder, shouted, in any case amplifying and signing an intense and disturbing progressive moment. The finale with the opera-rock choirs of a 'Bohemian Rhapsody', the worn voice, hold on a barely hidden LED ZEPPELIN riff takes us on a confusing track merging vintage heavy rock with a Genesisian air. A magnificent musical heresy that mixes, brews genres to better bewitch before the final haunting piano; I note Alice COOPER, KAYAK see CAST as groups coming to mind.

"Black Science" in 6 parts for the search for perfection, a dead-end attempt hence the search for the family nest; Louisiana gospel at the start, melting organ à la ANGLAGARD, prog takes the lead in this second chapter; we waver to let our ears listen to this archaic sound of today, magnificently boosted. The neo returns to the charge; a bass break suddenly reinforcing the hero's thoughts, the complex, captivating sound with a cheerful and bucolic title, from the Charisma Label of GENESIS. A nervous rise before descending a capella on a divine air, almost new-wave, AND YOU WILL KNOW? for the pop side. The break with Crimson Skies and its detuned wood piano for the dark, intense, stunning air; good luck or not I hear some KING CRIMSON with its famous crescendo. The jazzy finale with the piano flowing all by itself and its military drums leaves 'Dissension' its phrasing on a singular horn in dramatic mode, the moment when the hero understands that returning is the only viable solution; the instrumentation is amazing with these beautiful vintage flights, listen to me this organ which inevitably brings back to the 70s, the beauty is there. The finale with the neo sound of ARENA mystic with the Olympian choirs signs a last velvety guitar solo leading to the firmament.

INFRINGEMENT a sound apart, stacked breaks, vintage instruments, languorous and warm airs. Eclectic, symphonic and grandiloquent neo prog, proving that the prog of yesteryear can be excellent. Originally on Profilprog.

Absolutely fantastic - This is the best album I have heard in years. Love the changes in chord time signatures. Distinctive new sound with very good drumming, keyboard and lead and base guitar work. For me, Black science is the best of the 2 long tracks which are predominantly instrumental, but with some vocals. This is a concept album and I like the vocals which are not allowed to dominate the music, but enhance the overall sound. The track dissension is particularly good on the vocal front and sung with real feeling fitting to the lyrics. I have ordered the LP as a result of hearing the music on line and am looking forward to its arrival.

The track Evolution from the Black Science side I have played so many times, compliments of you-tube, but in truth this whole side is top dollar. The White Lies side I found a bit too heavy for me, but I am sure others may prefer this side. Often I listen to new music charting in prog archives only to be disappointed and cut the listen mid track. This one was different as the Black Science track progressed I got more and more excited. Once I hit Evolution I knew this was a bands album I had to get.

Give this a listen you will not be disappointed. This album deserves to make it big, its a masterpiece. This is my album of the year without any doubt.

Epic Tracks doesn't Made Great Records

In progressive rock, there's a belief that a song over 12 minutes long is impressive, but when a song takes up an entire side of an album, it becomes extraordinary. Classic albums like Thick as a Brick by Jethro Tull, Foxtrot by Genesis, and Close to the Edge and Tales from Topographic Oceans by Yes feature songs that occupy a whole side, which has helped make these records legendary.

Infringement, a progressive rock band from Oslo, was formed in 2015 by Stig André Clason (guitar), Kristoffer Utby (drums), and Hans Andreas Brandal (vocals). Keyboardist Bård Thorstensen joined later for live shows, then became a full member, and the band's lineup was completed by bassist Emil Olsen.

Infringement's music mixes neo-progressive and symphonic rock, with an eclectic style that covers a wide range of influences. Their debut album brings funky, groovy rhythms as well as echoes of '70s prog rock. The band uses complex time signatures, symphonic arrangements, and surprising twists to create a sound that is both familiar and fresh.

However, this album shows that creating a conceptual piece with two long tracks doesn't always guarantee a masterpiece. It can be hard to keep such long songs interesting, and Infringement sometimes falls into repetition. Despite this, drummer Kristoffer Utby and bassist Emil Olsen stand out, bringing strong performances to the album. Sadly, the final mix hides much of Clason's guitar work, though he has added some interesting parts.

One issue with the album is the keyboard parts. Sometimes, Thorstensen's tone and vintage sound fit the music perfectly; at other times, the keyboards feel out of place or a bit cheesy. Thorstensen's role as the main harmony player seems to stretch him to his limits in these compositions. Vocalist Hans Andreas Brandal also struggles at times, as his voice sounds tired and occasionally off-key. Singing in English may not be his strength, which could be part of the problem.

Even with these issues, the album has its strong moments. It includes two main tracks: White Lies at 20 minutes and Black Science at 22 minutes. The band's style shifts between the influence of Magic Pie and Pendragon. White Lies, especially in part 4, is where the band sounds most united and energetic. Meanwhile, Black Science has a more atmospheric, neo-progressive style, with parts 4 and 5 delivering a satisfying climax.

After 44 minutes of listening, I enjoyed this album but wasn't blown away. The songs feel a bit too long, and shorter, more focused compositions could make the album more engaging. Overall, Black Science and White Lies is a good addition to the prog rock genre, though Infringement still has room to grow. With tighter songs and continued development, they could reach new heights.

I need to direct you to the fabulous (and only) review by tszirmay. I had not heard of this band at all and there has been no mention of them on the forum that I am aware of. What you get here is 2 different twenty minute + pieces of music. The first track is called Black Science and has a 'post rock' flavour. The second is White Lies and brings us back to a more traditional neo prog approach. For me this is exactly what I want from my modern progressive rock music and it's from Norway (of course!). 5 stars.

This Norwegian band's third album is still captained by an ongoing member of the Windmill in guitarist Stig Andre Clason, as well as the latter's current drummer in Kristoffer Utby. The line-up is rounded out by new bassist Emil Olsen, keyboardist Bard Thostensen and terrific lead vocalist Hans Andreas Brandal, almost the same crew as on the previous 2019 album "Alienism" which was very well received in the prog community. The intervening five years gave the group a fair amount of time to configurate their opus, as the third album can often make or break a budding career. Well, offering only 2 very long, multi-segmented tracks can be viewed as a highly risky endeavour, yet the lads boldly forge straight into the upper levels of credibility, with an incredible release. Not surprisingly, their brazen vision was to suggest two different moods, pulled off with flawless precision.

The darkly menacing "White Lies", as the title clearly proposes, they choose a stark essay on our current status of world affairs with a rambling sermon on the futility of what we are led to believe, all sides guilty of exaggeration, opinion-peddling, and blatant politicizing absolutely everything, the confusion and frustration succinctly evoked in the powerful instrumental battering unleashed by the irate guitars, the venting keyboards, the galloping bass line and the full-throttle drum support. The vocals are off the charts, moving from the frantic opening speech on "doctrine", passing via a flurry of female voices and finishing off with some rampaging lead vocals that certainly impress. The alternating softer sections weld perfectly with the brasher yet fluid guitar spirals, the voice now hushed in apparent despair to 'save my soul', backing chorus adding depth to the dense arrangement. Emil Olsen wobbles brilliantly, the screeching axe finds the room to grind and drums providing much needed wallop. Bard unhinges his various keyboards from any restraint, delivering a monstrous barrage, on organ specifically, a real treat for both the ears and the soul to which they are connected! Naturally, the unrestricted pressure has now been elevated to the point of damnation, and the volcanic nature of the explosion hits home, and hard. A brief moment of silence, then a modern multi-voiced version of a barbershop quartet enters the discussion before returning to the molten fury but with a funky gothic whirlwind coloration that defies the standards. Bombastic, an over the top and fascinating piece of music.

"Black Science" showcases nearly 23 minutes of a perhaps more old-school melodic side, a tinge of medieval modulation creating a complex and emotive prog rock that shows off the exceptional chops all the players clearly possess in abundance. The melodic themes instantly adhere to the pleasure nodes, the vacillating organ doing unique damage, ably assisted by the conjugation of a tight as a screw rhythm section and capped off by Clason's magically evolutive guitar lines. Andreas sings in a more traditional prog style, at times a capella, rekindling the GG hint, the brooding bass guitar enjoying finding silence in order to push forth a now more sinister mood, Crimsonian touches ("Crimson Skies" sub-section) that verge of sorcery and enough variations to satisfy the diehard fans of adventurous music. The lovely piano sections are sensational, a moment of dissension amid all the chapters evoked in the Book of Necromancy. The musical wizardry returns for another spin, alternating cinematographic moments of horror and serene impressions of fantasy, keeping the avid listener on their tippy- toes, unaware of the next direction to be undertaken. Redemption becomes the final resting place, as with every living thing on our planet, the end transforming itself into a new beginning. The cycle of life, a final atonement, a perpetual salvation. The massive finale is crushingly poignant, the finest album ending in many a moon. I feel contentedly drained.

Two massively entertaining slaps in the face, punching also the gut of indifference and blandness. Incredible slice of modern prog at its very finest, with impeccable delivery and pace. Definitely a top contended for the 2024 podium.

5 Trespasses

Hailing from Oslo, Norway, Infringement is a Neo-prog band that began in 2015, formed by Stig Andre Claison (guitar, vocals), Kristoffer Utby (drums, vocals), Hans Andreas Brandal (lead vocals), and Espen Larsen (bass). In November of 2019, the band released it's 2nd album, called "Alienation", which sees the original band return with the addition of a 5th member, Bard Torstensen (keyboards). The album is available on CD, LP and Bandcamp. It consists of 4 tracks and has a total run time of 40 minutes.

"Alienism" is a concept album that centers around the journals of a commissioner from a psychiatric hospital called Gentmire Institute. The album begins with "Disorder" (7:58). The track starts quietly with acoustic guitar and an almost toy piano effect. The music builds as synths add a symphonic feel, then a sudden progressive outburst of guitar chords levels things out while a guitar plays supported by a moderately slow beat, and then the vocals begin. The vocalist conveys the thoughts of an unsettled mind, and the backing vocals support that feeling. Nice short instrumental passages fill in the spaces between the vocal sections. The song has all of the expected Neo-prog elements; changing melodies and textures, varying from soft to heavy sections, the music following the attitude of the story/lyrics, a great balance of guitar and synth throughout, story telling vocals and great instrumentals, and just the right touch of a symphonic edge.

"Triad" (10:37) continues in the same vein as the previous track, maybe a bit more melodic and a steadier beat at first, which soon becomes more progressive as the organ and guitar take their turns showing off a bit, and then the whole thing taking a sudden, more chaotic turn with the vocals becoming more frantic, the music more intense, the beat faster. All the while, the vocals are quite clear, easy to understand and each instrument is clear and crisp. Later, an a cappella section shows off the band's ability to harmonize and sing in contrasting parts. This gives way again to another progressive and somewhat chaotic section, but always giving way to return to the softer sound of the beginning. Around 6 minutes, the band whistles the melody as the meter changes and the music reflects a bit of uneasy insanity, the vocals becoming more unhinged. It all accumulates to a midtempo guitar solo that is quite melodic and entrancing.

"Therapy" (4:36) begins with a pizzicato guitar and mid-tempo beat that builds in tension for a minute before the vocals come in. This time, the chorus has a nice falsetto vocal where the lyrics are repeated by another voice speaking the same words that are being sung. The tension continues build as the track continues into the 2nd verse and everything ties itself up with some release of the tension closing the track.

"Delirium" (16:56) begins with a more mellow sound with vocals and layers of synth. Soon, a beat is established, the band comes in and more guitar comes in to carry the track forward for a while, then the synths come back in giving it a lush feel, but the guitars build some intensity before the vocals return. The music reaches a resolve about 4 minutes in and there is some excellent interplay between the guitar and synth as the tempo steadies out and the music becomes smoother. The vocals return, then just before 6 minutes, everything shifts again with a tricky meter supported by organ and guitar, and then the tension breaks again as the music steadies itself for a while. At 9 minutes, everything picks up again, the drums push forward, there are some meter shifts and tempo changes, then there an excellent vocal section and the music moves through some complexities before calming down to a very symphonic feel with the synths providing nice orchestral effects. The music almost becomes cinematic for a while. A solo piano brings things down to earth before the 14 minute mark, and the band returns as the piano leads the was with a straightforward, yet nice instrumental section. In the last minute, the music swells, a nice synth solo takes over and builds the music to it's final climax.

This is an excellent Neo-prog album, and it should be a highlight for the year, at least for lovers of the Neo-prog genre. There is an excellent balance of instrumentation throughout, some great progressive passages, excellent vocals and plenty of highlights. It all comes across as being well produced, the band is on point and the music is interesting, exciting and never boring. You will hear many influences here, along with several twists and surprises, but overall, the music is excellent Neo- prog with some elements of Symphonic sections in a few areas. Even though it doesn't quite make the 5 star level, it is close to that, and many may find that it is a favorite. I find the band to be one that I will be watching closely in the future.

Review # 72. For those who don't know them, I should inform you that Infringement is a quartet from Oslo, Norway. The band has been active for a couple of years now, and a few months ago, they released their debut album, Transition. The line-up is a typical Rock one, with Bass, Guitars, Drums and Vocals. For the needs of the recordings, 6 more musicians were used, in keyboards, sax, percussion and vocals. From these 'extra' musicians the name of Clive Nolan (in keyboards) is the one that 'shines' the most.

Their sound is a 'typical' Neo Prog' sound in my opinion, including many mellow moments, mixed with guitar riffs and interesting turns. Also, the presence of keyboards in making their sound richer, and for that reason, they should maybe consider having a keyboard player as their 5th member. Their overall style and sound are bringing to my mind bands like Arena, Pendragon and Marillion mostly, but every now and then you can discover influences from other Prog bands as well.

Transition includes 9 tracks and has a total time of almost 50 minutes. There isn't any real epic included, and the longest track is the almost-10-minutes-long Patina, with Clive Nolan on keyboards. The second longest track is Adolescence, which, further than Clive Nolan on keyboards (again), it also includes some very nice guitar work. The guitar player's performance is very good, and you will find many interesting and enjoyable riffs and solos throughout the album.

If this was a vinyl album, I would say that I really like the A-side far more than the B-side; because the first 4-5 songs are all very good ones. This is a good and very promising debut album without a doubt. Especially the fans of Neo Prog will appreciate it. Give it a try! Favorite songs: Conception, Infancy, Childhood, Adolescence, Passage. Since this is their first effort, let's spread the word around, and boost their confidence a little bit. My rating would be 4.0 stars