LARS FREDRIK FRØISLIE

1. Rytter av dommedag for a deluge of vintage notes which echo what was done in time, hence my disappointment since the creation is missing; 16 minutes of thinking about, of bathing in a barely brackish musical climate is a painful observation of poorly digested revival 2. And sted under himmelhvelvet in radio edit and the same feeling with the folk voice that goes to the lands of ÄNGLAGÅRD and the more recent TUSMØRKE; what's the point of 'pumping' a sound that has proven itself but has lost its faith and energy these days? So unless you want to keep blinders on your ears and don't want musical evolution, beautiful is not synonymous with great and this sound fits well into a bygone vintage sound.

3. Jærtegn yes the harpsichord is beautiful, a memory of an ancient time, yes Lars sings well and it feels like we are around a Viking fire, yes but it goes around magnificently in circles, a bitter observation, yes it lacks that energy which in WOBBLER or KALUGIN makes you strain your ears and listen again for their own sound 4. Naturens katedral comes to change my mind, why? A more tortured sound which takes from the 70's and monopolizes it to create, which will even push the musical vice to flirt with the hard prog Dinos before their time, yes GENESIS with DEEP PURPLE used the organ for hard rock psyche scents ; in short it swirls, it swells, we feel the prog blood flowing, the one that makes you move and not doze off; grandiose title through the use of instruments for a tormented but progressive bucolic journey, but why did we have to wait for the last title? (2.5)

Track 1: Rytter av dommedag: This is a modern prog rock masterpiece, "Rytter av dommedag," a vintage keyboard aficionado's dream come true. From the ethereal mellotron soundscape that bookends the track to the intricate riffs on the ARP and Moog synthesizers, every moment is a testament to the enduring power of classic keyboard instruments.

Lars Hammond C3 layering adds a rich, organic texture to the mix, whether it's just heavily overdriven rhythmic chords or percussive melodies, while a symphony of other keyboards weave in and out, creating a sonic tapestry that is both intricate and captivating. But it's the eruption of the 15/8 Moog riff towards the climax that truly showcases the brilliance of this composition. As the music reaches this peak, it's impossible not to surrender to the urge to headbang. Despite not understanding the juxtaposed Norwegian verses, the sheer emotional impact of the sound transcends language barriers. This is Symphonic Prog at its finest, a testament to the enduring legacy of vintage keyboards in the modern prog scene.

Track 2: Elsted under himmelhvelvet "Et sted under himmelhvelvet" emerges as a seamless continuation/spiritual successor of the sonic journey initiated by the previous piece (despite being a standalone track). Once again, we're treated to the intoxicating allure of vintage keyboards, with the unmistakable charm of Moog tones leading the charge this time.

As the track unfolds, the rhythmic backbone provided by the chunky 12/8 Rickenbacker bassline adds depth and drive, while a sublime Moog solo takes center stage, intertwining effortlessly with mellotron strings that echo its melodic phrasing. One of the true marvels of this composition lies in its attention to detail. The flute sections, expertly mixed, blur the lines between reality and illusion, showcasing Lars' meticulous craftsmanship. The reason for this is because it is the mellotron, and unless one is extremely familiar with the instrument, you likely wouldn't be able to tell the difference between real flutes or mellotron.

As the journey draws to a close, we find ourselves back where we started, enveloped in a grand, orchestrated vintage organ soundscape. It's a fitting conclusion, tying together the thematic threads that run through both this track and its predecessor, and leaving us in awe of the masterful storytelling achieved through the language of vintage keyboards!

Track 3: Jærtegn "Jærtegn" ventures into territory reminiscent of the distinct soundscapes often found on Wobbler albums, and for fans of this unique style, that's an absolute treat. There's a sense of familiarity and comfort in the familiarity of this sound, a testament to the enduring appeal of a genre steeped in tradition. At the heart of this track lies a standout moment: Lars' theremin solo (in fact, it is definitely not a theremin but it really sounds like one). It's a masterclass in virtuosity and innovation, showcasing his ability to push the boundaries of sound and transport listeners to otherworldly realms. This solo elevates "Jærtegn" to a new level of sonic excellence, making it a standout gem in its own right.

While this track may stand alone compared to the other tunes, it doesn't exist in isolation. It's a vital part of the greater tapestry woven by the album, contributing its own unique hue to the overall sonic palette. And for vintage keyboard enthusiasts, it's yet another reason to celebrate the enduring legacy of this timeless genre.

Track 4: Naturens katedral "Naturens katedral" unfolds as a journey into darker realms, offering a tonal depth that sets it apart from its predecessors. While the rhythm remains steady, it's the atmospheric nuances that transport listeners to a place where the glorious slow headbang feels inevitable.

At the forefront of this track is Lars' vocal prowess, showcasing his ability to command attention with his unique Norwegian singing style. Whether delivering high-energy chants or soft-spoken verses, Lars proves himself a master of many trades, capable of completely carrying the album on his own.

As the music evolves, we're treated to familiar echoes of the "Rites At Dawn" era, with swinging rhythms complemented by the spectacular interplay of Moog and Leslie-treated Hammond. The mellotron adds its ethereal choir-like effect, blending seamlessly with Lars' vocals to create a majestic soundscape that envelops the listener.

But it's the sinister turn halfway through that truly captivates, evoking the raw, classical sound of 90s Norwegian prog. The atmosphere becomes imbued with darkness and cold, reminiscent of black metal and dungeon synth influences, yet firmly rooted in the progressive rock tradition. Lars' trademark organ sound and tone brings the track to a haunting conclusion, leaving a lasting impression.

As a listener from New Zealand, the music's connection to Norway feels extremely relatable, adding an extra layer of depth to the experience, and at the same time it makes me think of the wilderness and ranges near where I live. I'd been eagerly awaiting receiving this CD and have been listening to it for the past two weeks before I wrote my review. I very rarely give out a 5 star on this website, but this one simply meets the mark and requirements of an essential masterpiece.

I can't imagine this album not being my record of the year for 2023. Lars Fredrik Froislie is a bad man. Hey I love that he's so serious in all the pictures I see of him it reminds me of another bad man Gerard Hourbette from ART ZOYD, just look at the two pictures in their bio here for example. Anyway I was really looking forward to this but I also had reservations given that this was all Lars except for the bass.

Well my appreciation for this man has blown up after spending the past week with this album. His vocals have such character and that's what you want when you have an album of stories. There's a cool picture of Lars holding a huge story book in the liner notes. And how about the four pictures on the album cover representing those four stories. I mean the art work for story books back in my day were not of this quality, each picture is so beautiful in it's own way.

There's another interesting picture of Lars and about a dozen banks of keyboards surrounding him in the liner notes. His M400 mellotron gets put to good use here along with an array of keyboards of course. And I have to mention Nikolai Haengsle from ELEPHANT9 playing a lot of his Fender basses but also that nasty Rickenbacker. I'm such a huge bass fan and it was so wise of Lars to bring him in because he is all over this album and the importance of his input can't be stressed enough.

This is an album where I run out of adjectives trying to describe it. The last one like this for me was SHAMBLEMATH's "II" album from late in 2021. We get two long tracks of just under 17 minutes each and the two shorter ones both under 7 minutes.

The opener "Rytter Av Dommedag" features the most beautiful and memorable of melodies that comes and goes. The song opens with some power, quite dramatic. Man I love the sound of the keys on here at times bringing RPI to mind. This is just a joy to listen to and we get those contrasts and repeated themes over the 17 minutes. I should have mentioned given the song titles that Lars sings in Norwegian.

The second track features more beautiful atmospheres with mellotron and Lars voice is especially good on this one. The bass is insane after 2 1/2 minutes. "Jaertegn" has those amazing keyboard sounds as it hits the ground running. Vocals and huge bass lines too. A calm and synths lead for a while.

"Naturens Katedral" ends it and it's surprisingly heavy with vocals to start and mid-paced. It turns mellow and these contrasts continue. Check out the mellotron 8 minutes in. Oh my! Some nasty experimental sounds 10 minutes that are amazing before the tempo picks up and vocals return before it settles once again.

Well we have that new JORDSJO coming out in October and Hakon from that band along with Lars are also on that new THE CHRONICLES OF FATHER ROBIN record due to come out next month. But I can't imagine either beating this one out.

In the early Nineties I started to write about progressive rock, in those days The Second Wave Of Skandinavian Prog emerged, spearheaded by Anglagard, Anekdoten and Landberk. I was blown away, especially due to the frequent use of the unsurpassed Mellotron, in the vein of the best early King Crimson. Well, listening to this first solo album by Wobbler keyboard player Lars Fredrik Frøislie (also drums and flute), with guest musician Nikolai Hængsle on bass, I am blown away again, wow, this is my music, vintage keyboard drenched Old School symphonic rock, wow!

"The first song Rytter Av Dommedag (16:56) is themed around Ragnarok, when King Rakne awakens in his large burial mound outside Romerike and, together with the old gods, creates real mischief."

This epic composition delivers lots of dynamics, tension and shifting moods, topped with beautiful native vocals. From sumptuous eruptions with soaring Mellotron and sparkling Hammond runs to dreamy piano and tender native vocals and a mid-tempo with powerful Rickenbacker bass. Often Swedish Anglagard come to my mind. Halfway tender piano work, in a mellow atmosphere, with soaring Hammond, then a bombastic eruption with Minimoog flights, fuelled by an excellent rhythm-section. The final part features an exciting build-up, from a dreamy atmosphere with a churchy Hammond, Mellotron choirs to a compelling grand finale with Hammond runs, Mellotron and choir singing, Old School symphonic rock at its best, goose bumps, what a start of this album!

"The second song Et Sted Under Himmelhvelvet" (6:53) is dreamy, possibly set in a Renaissance garden near Florence or Arcadia. But in principle it can be anywhere where it feels good to be. It is partly about travelling to a place and feeling that you have been there before - only to find out that you had ancestors who lived there long ago."

The first part strongly evokes fellow Skandinavian prog bands Anglagard and Landberk, due to the sound of twanging acoustic guitar and flute, blended with dreamy native vocals and Mellotron violins. Then a slow rhythm with bombastic climate, soaring Mellotron and Wakeman-like fat Minimoog, and inspired native vocals. Next a powerful mid-tempo with Hammond, a growling Rickenbacker bass, powerful drums, and distinctive Mellotron violins, wow! Halfway a churchy Hammond sound, soon followed by dreamy flute. And finally a compelling climate with fat Minimoog runs and soaring Mellotron violins (in the vein of early PFM), another strong track.

"The third song Jærtegn (6:27) opens in a frenzy, with a horse and cart speeding through the forest. The wagon overturns at the same time as there is a solar eclipse, and the riders become eternal wanderers in the dark forest, only visible to us now and then like the northern lights, as they vainly stretch their arms towards the sun in the hope of finding their way home."

This composition alternates between a bombastic mid-tempo (with powerful Hammond and bass, and strong native vocals) and mellow with tender clavinet and dreamy vocals. In between flashy Minimoog with use of the pitchbend button, blended with emotional vocals, Hammond, and a strong rhythm-section. This dynamic piece is concluded with Mellotron violins, I love it!

"The final song Naturens Katedral (16:36) is a depiction of the Norwegian mountains in winter where the cold is bitter, and blizzards and avalanches abound. It is also a search for bygone times when life was more basic out in the wilderness."

The other epic track delivers lots of changing atmospheres, from dreamy to slow rhythms and sumptuous eruptions, backed by excellent work on the Rickenbacker bass, and topped with emotional native vocals and exciting Hammond work, obviously inspired by Keith Emerson (Tarkus era). Halfway the music turns into more experimental featuring a variety of sounds and instruments (piano, cymbals, clavinet), blended with theatrical vocals and again sensational work on the Hammond, with a psychedelic touch. The final part contains a swinging rhythm with Minimoog, fat bass, tight drum beats, and in the end another churchy organ sound, thumbs up!

What an incredible work by this duo, not to be missed by any serious fan of symphonic rock and vintage keyboards!

This review was previously published at the Background Magazine website, the oldest Dutch prog rock source.

We all know by now that Norway is a progressive rock powerhouse, becoming a major player only after the golden period of the 70s, starting off with pioneering bands like Kerrs Pink, Fruitcake, Kvazar, Gazpacho and Shine Dion, then further emboldened by Airbag, Motorpsycho, Oak, Soup, Pymlico and the Windmill, finally killing it with two huge bands in White Willow and Wobbler. The last two featured a remarkable keyboardist in Lars Fredrik Froislie, an instrumentalist never that flashy in terms of showing off dazzling skills but an absolute master of understated tone and technique, very much at the beck and call of the arrangement in question. He even participated in genre bending as he fronted the Norwegian progressive black metal band In Lingua Morta (a style that the icy cool Norsemen really nail down shut). Lars is quite the sonic adventurer, steering his arsenal of keyboards on a 'drakkar' of endless voyage and innovation but who has now finally decided to do his own thing via a solo album. I have been lamenting since my early prog days in 1969, the lack of usage of my favourite instrument, sadly disregarded by way too many artists, the harpsichord. Attending a classical concert at 13 years of age, I got introduced to this beautiful Baroque/Renaissance instrument, with works by Bach, Couperin and Haendel, played by a young maestro who added some dramatic flair to his technique. It has haunted me ever since. But not anymore, as "Fire Fortellinger" has cascades of this plucky (pardon the pun) keyboard all over the 4 extended tracks that make up this 46-minute masterpiece. Froislie also handles all the drums and vocals, with equal dexterity.

Another typical 2023 prog sandwich, two 16-minute epics to start and finish, stuffed with two 6-minute delights, wondering if this is a secret trend that is becoming pervasive. Or just good old-fashioned coincidence. Well, "Rytter av Demmedag" explodes out of the gate with a thunderous torrent of swirl and a mellotron gale that blows a rousing organ pattern straight into Oz! Bombastic, bold, and utterly alluring, the main theme features a voice that is surprisingly attractive, sung in Norwegian before the synths suddenly weave amid the Gothic organ swells, solidly supported by an athletic bass, courtesy of Nikolai Haengsle and impressive drum gymnastics from Lars himself. The pastoral serenity towards the end harkens back to a sound closer to Genesis' Trespass, with a raw organ, a clever flute synth and some mellotron strings elevating deliberately to a glorious hymn of whopping majesty that invites a colossal choir into the melee, an absolute killer finale.

Speaking of beauty, a delightfully elegant harpsichord arrives in company of a gentle synth flute, as well as Lars' Norse voice introducing a gargantuan crest on "Et Sted Under Himmelhvelet", sounding in fact closer musically to classic PFM. The bass ravages convincingly, a bustling stroll of trebling rasps that really catches the ear, ebbing for just an instant, before re-igniting once again that magnificent mellotron-drenched melody and diving deep into the dense fjords of sonic bliss.

The vintage Hammond organ gets the spotlight on the charging "Jaertgen", a bruising and chaotic slice of wilderness that offers no mercy, until a sudden halt provides an excuse for the harpsichord to charm the listener with that distinguished baroque feel, pleading grey promenade voice in tow, overwhelmingly melancholic and sorrowful.

Sounding at first like a tribute to Brain Salad Surgery, "Naturens Katedral" offers superlative drumming skills, riffling contrasts on the various keyboards (though the organ really is the star) and a vocal style closer to Lake's swooning voice. The arrangement veers into gentler pastures where the piano rules, tingling sparkles of faithful observance when ushering in the choir, greeted by a tortuous synth flourish shoving this epic into another field of play altogether, where the raucous, rabid, and muscular coalesce with the soft elegance of simplicity. It does not take long for the sombre theatrics to kick in anew (think classic Goblin), echoing suspense on a visceral scale, a return to the precious harpsichord to calm the waters, though only for a second. The arrangement is flung into hyper speed, as if to finish in a dizzying display of fury, I can imagine Lars bobbing his head like a 1973 This van Leer on his organ, perhaps even making an odd grimace of contorted euphoria (Focus' La Cathedrale de Strasbourg did come into my mind, albeit only as a wink). Then comes a jazzy bit sounding like an evening tango with Brian Auger, shuffling drum beats straight out of John Marshall's soft spot. Clever and grandiose.

Thoroughly enjoyable, this is a romping adventure that exudes playfulness, honesty, fun and glittering instrumental dexterity without being overtly show-off.

4.5 quivering snowy trees

Wobbler is probably one of the most popular modern prog acts right now, especially in the field of retro prog. With five consistently great albums and many more to come, their inventiveness on more symphonic prog textures of Genesis and ELP, with combined elements of Gentle Giant, Renaissance, Anglagard, and Gryphon create a very familiar, yet really unique sound on their part. So, it is great to see their lead vocalist and keyboardist, Lars Fredrik Frøislie, being highly successful in his first solo endeavor of Fire Fortellinger.

While Lars is no stranger to making really stellar music, as he has been involved in numerous bands, his first solo album definitely shows off his talents in a more upfront and personal way, having him being the main musician here with Nikolai Hængsle of Elephant9 helping out on bass.

For what this album is worth, I say it is absolutely stellar. It has two 16 minute epics at the front and back with two smaller 6 minute tracks in between, creating for this really nice order of things in my opinion, but besides that I say all the tracks here are just immaculate.

The music on here, which is definitely shown a lot more in the big epics, are a lot less compositional than what is shown on Wobbler, and while it does have that Wobbler-esque ideals to it, I can say it feels a lot more energetic, with Lars creating these dynamics and improvisational ideas that feel right at home with an early 70s prog venture, though with the high quality production and mixing of the modern day.

I also noticed a bit more focus on the prog folk sounds, notably in the smaller tracks, which both have this sort of Strawbs like feel to them, mixed with a bit of Anthony Philips' The Geese & The Ghost and Harmonium's Les Cinq Saisons being a backing element. All of these different dynamics and moods in Lars' sound really does give this album a very different flavor of symphonic retro prog that I have not quite seen anywhere else in this sphere of music, as most bands usually take a more Yes, or Genesis route, but with Lars he isn't afraid to show his, more or less, lesser known inspirations on his sleeves with this release, and I really appreciate that.

I also love the heavy pastoral flairs on here. Wobbler in themselves were already pastoral as a bed of flowers, but Lars cranks that up to 11, having these moments that feel medieval, epic, and down right agrestic. If he releases an instrumental version of this record, I bet it'd fit really well as background tunes for a lot of DnD sessions.

I do not really think this album has much of any flaws really, maybe some moments of Lars' keyboard might not be as strong as other parts, but even then I feel like even the worst this album could offer is still really good, and for a debut solo album to be of this caliber is honestly a surprise, but definitely a welcome one.

It is honestly really hard to not rank this a five stars, in fact I'd say it is impossible. I really love this record with all my whole heart, with its boundless and energetic symphonic prog dynamics, its multitude of prog folk musical ideologies, and its perfect length and structure, it all becomes this really stellar experience in my book. If you love Wobbler, or just symphonic prog, prog folk, and or retro prog in general, there is no better time than now to check this record. I guarantee you that you will not be disappointed.

Lars Fredrik Frøislie is the keyboardist and a backing vocalist of Wobbler, and Fire Fortellinger (Four Stories) is his first solo album. I had a few people reach out, independent of one another, to tell me about this album, and they all had a line to the effect of, "I know you're not really a fan of Wobbler, but?" I would like to clarify something: I don't dislike Wobbler. I think they're over-praised in modern progressive rock discourse, but I don't think they're bad. Dwellers of the Deep was a mixed bag of a record, yes; but From Silence to Somewhere, Rites at Dawn, and Hinterland are all pretty solid. They're not doing anything groundbreakingly original, but they're putting out good, classic-style, Mellotron-and-organ-powered prog. 

So, I went into Fire Fortellinger less skeptical than many people probably expected me to be. This guy's the keyboard player for a very keyboard-forward band, so I knew about what to expect. And sure enough, this album is pretty decent, classic-style prog.

The album opens with dramatic Mellotron on "Rytter av dommedag" ("Rider of Doomsday"). Frøislie says this song is themed around Ragnarok, and the sense of urgency in this opening passage sells that heavy idea. His vocals have character to them, though his voice isn't the strongest from a technical standpoint. It suits some of the folkier elements in this suite very well.

Despite clocking in at nearly 17 minutes, this song feels much shorter than that. The different sections come and go fluidly, and there's a smart sense of evolution to how everything is structured. The closing passage is especially strong. Wordless vocals and jumpy, kinetic organ passages give a sense of both grandeur and finality.

"Et sted under himmelhvelvet" ("A Place under the Firmament") is very folky. Its introduction focuses on vocals, Mellotron strings, and harpsichord. Eventually, a majestic synthesizer line comes in, and the whole song swells. A couple minutes in, the song kicks into high gear, and a Chris Squire-inspired bassline powers things along as Frøislie's many keyboards trade the lead. The opening theme is revisited in this song's conclusion, and it reminds me a lot of Astra's "The River Under".

Side two kicks off on a high-energy note with "Jærtegn" ("Milestones"). Clavinet and organ bounce about, and Frøislie has layered his voice upon itself. I mentioned in my review of Wobbler's last album that his playing occasionally reminded me of John Evan of Jethro Tull, and I feel that comparison applies here quite well. Things slow down after a little while, and folk influences once again become prominent. It's a little sappy at moments for my taste, but it's not bad. 

Fire Fortellinger ends on another big suite, "Naturens katedral" ("Nature's Cathedral"). It starts off slow and plodding, with a woozy, fuzzed out bassline and dramatic vocals. Moving on to its next section, this passage maintains a darker atmosphere where synthesizers and organ take the lead. Though there are a lot of good ideas in the extended instrumental sections of this song, there are some issues with coherence. Certain ideas gel perfectly, whereas others feel more incongruous. This long song's best moments are its highest-energy passages, particularly near its midpoint.

This album was more-or-less what I expected, and perhaps even a bit better. It's enjoyable, fairly diverse keyboard-driven prog. It draws a lot from progressive rock's heyday in the 1970s, as well as Scandinavian folk. Certain instrumental passages drag on for longer than needed, but that's almost expected on a lot of albums like this one.

Review originally posted here: theeliteextremophile.com/2023/06/26/album-review-lars-fredrik-froislie-fire-fortellinger/

I want to be clear, I like the music on the record. It is all well-played, well-crafted and well-composed.

But it is not my cup of tea.

Of the many things I love about discovering music, two are: - seeking the hidden gems from the history of music. There's still so much to explore, I hardly started it feels - discovering new fresh artists that push the envelope

I am not so fond of artists that bring out new material that emulates the sounds of the past, especially when they take inspiration from multiple places to make it one.

Other reviewers have already informed us about how the music reminded them of previous greats. I will refrain from doing this here. What I will do is add my thoughts as a counterbalance because it is great to have these kinds of homages to past greats. But in the end, they can't stand in their shadow.

I rate this one 2 stars. Nice, but not essential.

The first solo album by long-time keyboard genius of Norwegian band WOBBLER. It's about time(!) as unsung hero and perhaps greatest prog keyboard artists of the 21st Century, Lars has also served as a full member of the bands TUSMÃ?RKE, HOLON, IN LINGUA MORTUA, WHITE WILLOW, WESERBERGLAND, THE OPIUM CARTEL, and CALIGONAUT!

1. "Rytter av dommedag" (16:56) I haven't heard this keyboard sound in a long time--since PETER GABRIEL circa 1982! The song moves into a EMERSON, LAKE AND PALMER/RENAISSANCE-like vamp motif for the second minute before unravelling for a delicate vocal supported by the above-cited "ancient" electric piano. This motif and music sounds almost mystical, magical, or mythical--as if we're hearing the musical presentation of the life of a mediæval wizard or alchemist. In the fifth minute we move back into a variation of the ELP/John TOUT motif before turning off into a more public/confessional sounding vocal passage still using full ensemble support. The keyboard solo in the seventh minute is, again, quite Keith EMERSON-like (with John CAMP-like bass support). I have to admit: Lars (like his Wobbler band mates) excels at the replication of classic 1970s sounds and motifs. With repeated listens it happens to be Lars unusual vocals that interests and entertains me the most: he feels as if he is truly the embodiment of the classic "magician" stereotype: ambiguous, suspicious, perhaps even unknowable. The song's construction and execution is strong--perhaps even flawless--though, as suggested, very closely mimicking the music of the past (which makes it challenging to rate). (32/35)

2. "Et sted under himmelhvelvet" (6:53) harpsichord arpeggi and "flute" (synthesized) open this before Mellotron and Lars enter to sing a vocal in Lars' native Norwegian that sounds quite a bit like a lot of the current Italian progressive rock artists in its bombast and melodic sensibilities. Nilolai Hængsle's chunky bass is quite the attention-grabber in the third minute as a fairly long instrumental passage begins. Lots of fine keyboard display from vintage sounds. At 3:49 we get a stoppage out of which flows some peaceful Hammond organ play in which is entwined with more of the "flute." At 5:13 Lars returns to the previously used vocal motif, leading again into the very RPI-rich keyboard motif which closes the song in a rather quick fadeout. (13.3333/15)

3. "Jærtegn" (6:27) the launch into fast-paced organ-rich prog sounds so much like a blend of KEN HENSLEY/URIAH HEEP, KEITH EMERSON, and ALLAN "TAFF" FREEMAN (NEKTAR) and yet is also steeped in the older stylings and sounds of ROD ARGENT, BRIAN AUGER, JON LORD, and even MATTHEW FISHER. The rest of the RPI-like styling is nice, the vocal only fair, yet this piece is a very nice tribute to the Hammond. (8.75/10)

4. "Naturens katedral" (16:36) a song that seems to work hard to replicate a scale of keyboard bombast that was only ever really used/identified with KEITH EMERSON, Lars here even goes as far as to try to imitate the vocal timbre and style (and bass sound/style!) of GREG LAKE as well as the drumming style of CARL PALMER. A true tribute to (one of) his hero(es). I'm actually quite impressed with how well Lars (with his doubling-up technique) manages to "duplicate" Greg's vocal style and sound. It's a very different vocal sound than what was present on the previous four songs.

The instrumental passages of the fourth and fifth minutes--with their occasional choral vocalise in the background and rich bass and Mellotron presence--are straight out of the classic RENAISSANCE soundbox. But then we go into a much more ominous Hammond-driven passage that makes me think more of classic Rock Progressivo Italiano music (like that of GOBLIN or LE ORME). Next is the stripped down harpsichord section. While I don't associate the harpsichord with any one band, the prolonged display in the tenth and eleventh minute flows into a passage that sounds and feels as if it comes straight out of the heavy psychedelic craziness that is IL BALLETTO DI BRONZO's 1973 classic masterwork, Ys. Great stuff! (As is the original.)

As we rise out of the RPI maelstrom and into the fifteenth minute we return fully to the realm of the jazz-rock stylings of the great Keith Emerson for a penultimate theme which then morphs into yet another passage in which Lars seems to be paying tribute to the great mainstay of progressive rock music: the Hammond organ. Well done! Though never a raving fan of ELP or Keith Emerson, I love how Lars packaged this tune as what feels like a tribute to how good Keith Emerson might have been. (29/30)

Total Time 46:52

If retro-prog (i.e. the faithful replication of the sounds, styles, and motifs of the "classic era" of 1970s progressive rock music) is what you love, then you'll probably love this product. In fact, I don't think I've ever heard so nice a memorial to the great prog keyboard masters as this one!

A-/five stars; a wonderful contribution of classic keyboard-oriented progressive rock from one of the true modern-day masters of the prog keyboard. Thank you, Lars!

What is presented to us in this album is the idea to revive the glories of a certain way of making progressive rock, based on extensive technical approach, complex but never without melody. This is the result of some seventies ideas reworked with taste by the Norwegian keyboardist. An intense and interesting journey through music long played and reworked over the last 50 years but which, incredibly, in the hands of this man is still fresh and exciting.

With his debut, this keyboard wizard brings us four compositions and four stories. The concept extends from Ragnarok, the Renaissance garden near Florence or Arcadia, the eternal search for one's way home after being lost in dark forests, where the only beacon of hope is the Northern light, and the incredible description of the Norwegian mountains in winter, where storms, blizzards and avalanches reign. A concept where you enter into a life of madness, illusion, beauty and confusion, a concept where dreams turn into nightmares, nightmares into reality, but also a concept about the power and majesty of nature. An album that gives you a mind- expanding story and in which, on a journey through music, you will experience oddities implemented in stunning pieces of music that will ignite you. The four tracks oscillate between calm and drama, between mystery and knowledge and combine progressive elements with sometimes strong folky notes.

From the musical point of view we can hear here the quintessence of what can be considered the best European-style symphonic prog, with some references to the great classics of the past, more or less explicit, more or less evident quotations and a pinch of Nordic aura. For this album, in addition to Lars Fredrik Frøislie, who uses an arsenal of vintage keyboards, plays drums and sings, there is Nikolai Hængsle on the bass guitar, a brilliant musician who creates great moments with his Rickenbacker, Fender Precision and Jazz bass and brilliantly foreshadows and implements this instrument in conceptual ideas composed by Lars. His hands on the black and white keys, whether synthesizers, organs or pianos, are of proverbial agility and sensitivity. Lars demonstrates the absolute greatness of this multiform, chameleon-like, but always immediately recognizable creature. Compact and varied, brilliant and intricate, first convulsive then ethereal and finally glorious, it is a progressive classic of intense musicality, the scores of the musician often have asynchronous paths and then magically merge into breaks and changes of atmosphere. The rhythmic scansion and the melody sometimes willingly diverge, requiring consummate skill.

The virtuoso of the keyboards lays out a carpet of musical ideas. These alternate with long passages of frenzied improvisation between classical and jazzy, with dialogues between themes, supported by an effective and by no means trivial rhythm. The tones are solemn, almost epic when the instruments enter the scene, they advance with great strides and dissolve to give space to the vocals, which emerges from the distance aided by the carpet of Mellotron and more energetic approach presented by other keyboards. The tension grows and becomes an elegant explosion of sounds, where the sweetness of Nikolai Hængsle bass, with its solemnity recalls the wide atmospheres of the best eclectic style and enhances ingenious compositions, where between tempo changes, exhilarating counterpoints and majestic sounds, Lars as drummer , shows off all his talent in giving further strength to an already grandiose pieces. Various instrumental passages now powerful, now rarefied, together with the rhythm section which is truly superb in this record, shows that levels of pure mastery are reached. The music also allows itself to launch into dissonant and strident solos giving life to a complex and compact wall of sound that is sometimes not very easy to listen, but which eventually collapses, resolving itself in calm atmospheres presented in the most inspired light. There is no shortage of important "solos", but the main quality is given by the alchemy between a symphonic flash, a folk "allure" and moments of "organized chaos", all this leaves us amazed by the multiplicity of the proposed solutions. A sound that is dark and mysterious, autumnal and introspective, but with gaudy "spring" explosions that, from time to time, brightly color the songs. In their softer moments, the songs are like an atmospheric walk through the forest, in the busier moments they seem like the undisturbed, nocturnal bustle of nature. Here we have four absolutely amazing pieces, the result of a great compositional work, arranged in an intriguing way, finished in a meticulous and skilful way and played with great technique. A fantastically made album, brilliantly composed music, a masterpiece.