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FROST*

Neo-Prog • United Kingdom


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Frost* picture
Frost* biography
Founded in East Sussex, England in 2004 - Hiatus between 2006-2007 - Reformed in 2011 - Still active as of 2016

"Nothing against pop music, it's like a family car, reliable and safe. But now and then you want to rent a Ferrari and race it along the Nuerburgring to prove to yourself that you're still alive. PROG IS MY FERRARI." Words uttered by famed UK producer Jem Godfrey--the man behind ATOMIC KITTENS' "Whole Again", HOLLY VANCE'S "Kiss Kiss" and even movie soundtracks. In his quest for the high powered engine, he banded together two of neo progressive's most experienced and gifted musicians and anchored them with a drummer who is quickly making waves within the music community. What he gave us was FROST*.

Undoubtedly, Jem's mission statement for FROST* was to create new and exciting progressive music that blends the spirit of the old with the sonic onslaught of the new. This (in part) had to be achieved by throwing away the notion that progressive music has to sound like something from the 70's. Godfrey states, "Most prog bands sound as if the last thirty years never happened. How can that be progressive?" On the other hand, Jem's experience as a producer has taught him to hit hard and to hit quick. "It's much more difficult to write pop hits than most people think. You have to get to the point as quickly and as effectively as possible. When you can tell people something inspiring in three minutes, using a wonderful melody and wrapping it in great production, then you've got a hit. I don't see why it can't be the same with prog".

Diving in with reckless abandon, Godfrey purchased 40 CD's by the leading bands from the past several years, one being KINO'S Picture. This prompted him to e-mail John Mitchell (ARENA; THE URBANE; KINO) to invite him to play on his record. The same series of events led Godfrey to contact bassist John Jowitt and drummer Andy Edwards of IQ. Although Godfrey had already done some work on the album with John Boyes, a former band-mate of Jem's in Freefall, the acquisition of the remaining three meant that Jem's vision was now beaming with radiant clarity.

Milliontown was completed and released in the States on July 18, 2006 and in Europe on July 24. Check the reviews on Prog Archives yourself...Milliontown was an overwhelming success within the progressive community. Cygnus X-2 (who was the first to review Milliontown) states, "In the end, Milliontown is a great debut from this upcoming neo prog force. I can't wait for the next release from this group, as they seem to have a long, fruitful, and very high energy career ahead of them." By the end of 2006, FROST* had conquered. DPRP's year-end poll had them at #2 (behind THE FLOWER KINGS' and ahead of highly regarded bands like THE TANGENT, SPOCK'S BEARD, and TOOL). Additionally, 3 tracks off the debut were voted in the top 10 (1. "Milliontown", 6. "Black Light Machine" and 10. "Hyperventilate")-- a rare feat.

Hopes were quickly dashed, however, when Jem Godfrey announced on his MySpace blog that due to his increasing professional and personal commitments elsewhere, FROST* would be dissolved. This sent shockwaves throughout the progressive community; however, in early 2007, Godfrey had a change of heart and announced that FROST* was indeed destined to carry on. Added to the already rock solid lineup is guitarist Declan Burke of the band DARWIN'S RADIO and plans are to release Experiments in Mass Appeal sometime in 2008.

Eric Walker

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FROST* discography


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FROST* top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.82 | 408 ratings
Milliontown
2006
3.64 | 300 ratings
Experiments In Mass Appeal
2008
3.78 | 208 ratings
Falling Satellites
2016

FROST* Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.16 | 59 ratings
The Philadelphia Experiment
2010

FROST* Videos (DVD, Blu-ray, VHS etc)

4.73 | 31 ratings
The Rockfield Files
2013

FROST* Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

FROST* Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.64 | 14 ratings
Tour Sampler 2008
2008
4.78 | 19 ratings
Frost*Fest Live
2009

FROST* Reviews


Showing last 10 reviews only
 Falling Satellites by FROST* album cover Studio Album, 2016
3.78 | 208 ratings

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Falling Satellites
Frost* Neo-Prog

Review by NickCrimsonII

4 stars Falling Satellites Almost eight years after the release of 'Experiments In Mass Appeal' Frost* returned with quite a strong outpout - the magnificent 'Falling Satellites'. So, a brief hiatus in 2011, several changes on the drummer's possition, Frost* released their only album of the 2010s in May 2016. The line-up here consists of Jem Godfrey, of course, the main mastermind behind the band, on keyboards and vocals, the prolific John Mitchell, once again on guitars and vocals, this time, however, the bassist is Nathan King (who's played with It Bites), and the drummer is Craig Blundell. After the somewhat disappointing follow-up to 'Milliontown', this time we are presented with a much more solid album, even better, a concept album. Of course, 'Falling Satellites' does not have a particular storyline with characters and all, or a main theme that will be repeated on several occasions but a concept that unites the songs - the concept of life. Godfrey had explained that the album is about enjoying life now and doing that thing you've wanted to do for ages. So, this time Frost* dive deeper into the electronic and pop-oriented sonwriting that they displayed on 'Experiments'. However, this album is radically different that its predecessor - much more united, very recognisable but also enjoybale melodies and catchy hooks. It feels much more inspired than their 2008 effort. The albums kicks off with the introductory track 'One Day' that transitions to one of the singles off the album - 'Numbers'. Simply, it is one of the best Frost* songs because it represents so well what they are trying to achieve musically - delivering accessible songwriting while maintaining the complexity and intelligence of progressive rock. The next track is one of the most surpirising Frost* tracks, even avant-garde, in a sense, 'Towerblocks'. They explore a more electronic sound on this one and the result is another strong track that I definitely see myself returning to. The fourth track is another single and definitely one of my all-time favorite Frost* songs - 'Signs'. Once again, it is a perfect representation of what modern pro rock can sound when given a touch of pop. The transition in the middle towards a darker theme is pure genius. 'Lights Out' is one of the shorter tracks, more mellow, with a female guest vocalist. It is not their best song, it is also not the best on the record but I get what they tried to achieve - to calm down the spirits a bit after the dunamic 'Signs'. Next up is the third single, 'Heartstrings'. Another enjoyable song with a memorable chorus. 'Closer to the Sun' begins as a synth-pop kind of dancy track but undertakes a beautiful transformation in the middle where Joe Satriani play an immediately recognisable guest solo, just to be followed by a keyboard solo by Godfrey (one of his best). 'The Raging Against the Dying of the Light Blues in 7/8' is another decent track. It is followed by 'Nice Day for It...', an almost instrumental piece that fits the style of the rest of the album. I feel like it could have been left out but at the same time its presence doesn't hurt. 'Hypoventilate' is a 2-minute ambient track that doesn't make a lot of sense to me. Just thrown in the end of the album as a transition to the final track properly named 'Last Day'. Another slower song that forms a frame between it and the opening song. The two bonus tracks are again on the softer side of Frost* and I understand why they were released as such. Overall, 'Falling Satellites' is a great return to form for Frost*, it is quite inventive on certain occasions, it maintains their sonic power, it contains fasntastic tracks (and a few not- so-fantastic ones), and it leaves me with a sense of wonder where will they go now on the new decade because new music from Frost* is expected. 4.5/5 feels like the proper rating for this one.
 Experiments In Mass Appeal by FROST* album cover Studio Album, 2008
3.64 | 300 ratings

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Experiments In Mass Appeal
Frost* Neo-Prog

Review by NickCrimsonII

3 stars 'Experiments In Mass Appeal': Frost*'s second album comes along with interesting events that include the announcement of the band's split-up, just to be followed by the opposite - the announcement of the release of a new album (three years after which the band would go on a hiatus for a few months). However, this album had to follow the gargantuan 'Milliontown', and I should say that is is evidently overshadowed by its masterpiece-predecessor. But it is not only this. It feels like 'Experiments' lacks the passion from the previous record. We see the band exploring their more 'pop' side here. Nevertheless, there are still very solid tracks that are among Frost*'s best ones, like 'Welcome to Nowhere', 'Pocket Sun', 'Dear Dead Days', 'Falling Down', and 'Toys'. They preserved the sonic image that now comes along with the band's name, the catchy melodies, the accessible songwriting, and the keyboard extravaganza but I feel like the album lacks a complete image, a character, it feels more like a collection of songs witb no common theme to combine them. I should also express my disappointment with the weaker tracks here. The first one being the fifteen minute 'Wonderland' that feels like two or three leftover songs from the album sessions have been sewed together to produce something strange, definitely not what one would expect from a song that is 15 minutes long (also, in this case, 15 minutes is a completely unnecessary length). The other disappointing song is 'Saline' which remains easily forgettable after every listen, a song that is surprisingly boring. Overall, 'Experiments' is not a bad album. However, it had the extremely difficult task to follow-up an album that is in all aspects a masterpiece, and it somehow failed to impress me. Still, I enjoy most of the tracks here, with several moments of completely uninspired music that could have been left out but it is what it is. I think 3.5/5 is the proper rank for this one.
 Milliontown by FROST* album cover Studio Album, 2006
3.82 | 408 ratings

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Milliontown
Frost* Neo-Prog

Review by NickCrimsonII

5 stars Hadn't done of these in quite some time. But I felt like it these days while I was enjoying Frost*'s catalogue. So, here it is, my first review of the new decade. Milliontown is the debut album by what could classify quite well as a suergroup, Frost* was formed in 2004 by producer, keyboardist and vocalist Jem Godfrey. The album was released in 2006 and sees off an interesting lne-up, consisting of John Mitchell (Arena, It Bites, Kino) on guitars and vocals, John Jowitt (Arena, IQ, Jadis) on bass, Andy Edwards (IQ) on drums, and John Boyes also on guitars, and of course, Godfrey. So, if I had to describe the album in two words, I could just say: a modern masterpiece. Milliontown needs no introduction to the prog community, as it is a milestone record for the genre. It is probably on par with some of the classic zeitgeist-depicting albums of the 70s, it is a sonic explosion of emotive lyricism,devastatingly beautiful melodies, and fabulous musicianship - a perfect representation what modern progressive rock is all about. Undoubtedly, one of the most inspired albums of the new century and the band's best work so far (and chances are high that they will never top it). However, I cannot get across with the neo-progressive label. I get that it is obvious given the backgrounds of the line-up but in reality Frost* feels more like a crossover band - drawing inspirations from pop and electronic music, in a mix of intelligence and joy. The album kicks off with 'Hyperventilate', one of the most recognisable Frost* songs, an eight minute instrumental introduction to what the album will sound like - lush, dynamic, emotional, sincere, and audacious. Next up is 'No Me, No You'. Simply, this song is a real banger, one of the band's heavier ones. One of my favorites on the album and overall from Frost*. The third and fourth tracks are shorter and follow a more pop-oriented structure with 'Snowman' showing the more mellow side of the band that we will see again in the subsequent albums, and 'The Other Me' contrasting it with its more upbeat feel, a bit like 'No Me, No You'. The fifth track on the album is the 10-minute 'Black Light Machine' which is probably the song that comes the closest to the Neo-prog label: the poppy beginning with John Mitchell's vocals, his amazing solo afterwards in the song, the slower build-up to the 7th minute where the band literally 'explodes', the majestic keyboard solo by Godfrey all make up for a very memorable and brilliant piece. The last track on the album is, of course, the 27-minute title track. Simply, it is one of the most brilliant and impressive prog epics ever, once again on par with some of the classics from the 70s. It is the best possible way to finish this excellent album. Also, it is worth a mention that Milliontown has been highly praised by the keyboard maestro Jordan Rudess which speaks a lot. To sum up, Milliontown is a modern prog masterpiece - a symphonic, bold, and eclectic statement, a sonic onslaught, performed flawlessly. A record that is a must-listen for anyone who claims to be a progressive rock fan.
 Milliontown by FROST* album cover Studio Album, 2006
3.82 | 408 ratings

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Milliontown
Frost* Neo-Prog

Review by The Crow
Prog Reviewer

4 stars After Kino, John Mitchell participated in another super-group called Frost*!!!

And this time, the results are much better than in the named band thanks to the very good songwriting abilities of Jem Godfrey, the other key member of the band. The style of the group is a very powerful neo-prog with tremendous instrumental sections, distorted and strong guitars, and tons of good melodies.

Frost* is like The Urbane (old John Mitchell's band) meets IQ with some stimulating ideas like disco elements (Black Light Machine) and even electronic-industrial touches (The Other Me) but always maintaining a very neo-prog atmosphere throughout the whole record and counting with very good vocals from Mitchell himself. I really like his mellow-deep voice, and in Frost* he sang better than ever.

Best Tracks: Hyperventilate (excellent instrumental opener), Black Light Machine (one of the most awesome neo-prog songs that I've heard) and Milliontown (marvelous tour de force and a true progressive masterpiece)

Conclusion: despite its flaws in form of two lackluster songs (Snowman, The Other Me), Milliontown is an excellent album which contains some of the best neo-prog songs released in the last decade. Powerful, funny and to be enjoyed many many times without being tired of it.

If you like neo-prog, even just a bit, I strongly recommend you check this album out.

My rating: ****

 Milliontown by FROST* album cover Studio Album, 2006
3.82 | 408 ratings

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Milliontown
Frost* Neo-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars "Milliontown" has been launched in 2006 as the debut creation of a UK Rick act FROST* and definitely considered as one of milestones not only in Neo-Prog society but also in Progressive Rock scene, let me say. The longest album-titled suite featuring drastic and dramatic melody appearances and charismatic and energetic impressions infiltrated deeply in the sound world might acclaim itself as one of Neo-Symphonic theaters. Their basal waves and vibes obviously inspired by British progressive rock vanguards (especially Genesis) and modestly seasoned with metallic hints are pretty comfortable for the audience regardless of such a complex rhythm ground. Exactly delightful and fruitful, till the end, a fragile keyboard lament.

Of course not only the masterpiece ... each track should have its own identity. The beginning kickin' titled "Hyperventilate" would be suitable to make us overbreathe under such a sound fantasia mainly created by Jem GODFREY's keyboard and John MITCHELL's guitar works unified together. This is another masterpiece to call a massive prediction they would aggressively run toward the top of the progressive mountain. In the middle part of this album we can enjoy Jem's vocal variation (partially dealt with effectors methinks) or catchy pop essence in their backyard (but this texture should not be their real essence but only kinda musical spice, in my humble opinion). Enthusiastic battles amongst keyboards, guitars, drums, or voices e.g. in "Back Light Machine", must ring the bell in our inner mind I'm sure.

Although not every track can be felt innovative but the first and the last are too impressive for the audience to ignore as progressive rock gems. Quite appropriate for beginners of Neo-Prog, beyond expression.

 Falling Satellites by FROST* album cover Studio Album, 2016
3.78 | 208 ratings

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Falling Satellites
Frost* Neo-Prog

Review by rollit2

5 stars This album touches something in me, it is long long time since I fall in love with some music, but I find myself listening it every day. Every. Day.

It could that it is such a strange misture, I would call it a mix of progressive rock and progressive pop. Yes, progressive pop. Some passages reminds me of the good thing that Genesis did in post-Hackett era, like Duke's travel/end.

I do not find this album perfect, but it sticks so much, the instrumental of British Wintertime, the climax of Closer to the Sun, the speedy of Numbers, that 5 is more adequate than 4. Anyway, you cannot love them, even if they only wrote Hyperventilate, it's enough to make a career and being remembered 100 years from now.

 Falling Satellites by FROST* album cover Studio Album, 2016
3.78 | 208 ratings

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Falling Satellites
Frost* Neo-Prog

Review by Progrussia

3 stars Frost - an on-again, off-again project of musical producer Jem Godfrey - mixes classical symphonic prog influences (through the dominant role of synthesizers) with modern electronic-based music and bombastic power pop. All prog bands overdo something - some the instrumental side, some the vocals - but Frost go over the top with production effects, making the music sound overwhelming at times. Still, the aim here is to create catchy pop music, not an experimental one. Out of the three (so far) Frost albums, I rate this for myself slightly lower, not for quality reasons, but for quantity - too much CD space is taken by interludes and forgettable quieter breathers - but the album does have a solid core of 5-6 keepable tracks.
 Falling Satellites by FROST* album cover Studio Album, 2016
3.78 | 208 ratings

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Falling Satellites
Frost* Neo-Prog

Review by MaskedCow

5 stars A huge step forward for a band with massive amounts of talent and potential. Much as I loved Milliontown, it was very much a Jem Godfrey album with contributions from other band members. Experiments in Mass Appeal followed in the same vein but suffered from a lack of focus and a blustery mix. After much futzing around their third album is much more of a real band effort. Jem's still front and center, in both songwriting and signature sound, but the album is full of the feeling that the whole is greater than the sum of its parts.

This, to me, is the essence of a truly great album, when a band pulls together to create that special alchemy. There's plenty of catchy melodies combined with stonking riffs, virtuoso displays all around, some risks taken and some well trodden paths revisited along the way. Frost* have always been weak lyrically, and this album is no huge step forward, but there are some signs of a more considered, thematic approach here, which is a welcome change from the slightly awkward thesaurus flipping of past efforts.

For me personally the only tracks that aren't a resounding 5 stars are the elementally poppy "Lights Out" (not that it isn't a good song with a nod and a wink to Paddy McAloon, it just doesn't quite fit in with the rest of the album) and the bonus track "Lantern" which could have happily stayed in Jem's vault, it's just not up to the high standards evident elsewhere.

Superb playing all around, excellent songwriting, this one is built to last. Take a deep breath, this one might even have a track or two that would make it onto my personal all-time top 10.

 Falling Satellites by FROST* album cover Studio Album, 2016
3.78 | 208 ratings

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Falling Satellites
Frost* Neo-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars A dramatic and catchy theater between First Day and Last Day. In the spring of 2016, FROST* have given their first bark titled "Falling Satellites", where are full of highly qualified pop essence tinged mainly with a tad complex Neo-symphonic sauce. Grabbing minds of young progressive rock fan and dealing carefully with old proggers ... each might be different from another and simultaneously both should give extreme energy or power to all of progressive freaks without any doubt. This album notifies us of such a certification.

And let me say they've discharged various elements here and there. Their sound strategy might look toward pop melody line with hard-edged eccentric rhythm basis for the sake of digging a cool novelty out and be constructed elaborately with massive influence by not only plenty of progressive rock pioneers but also pop / rock legends. Electric confusion like Discipline-Era Crimson, speedy rock chasing into comfort, technical complicated plays (killer ones), sound effects often used nowadays, fantastic sincere chorus, explosive sound virtuality under rockin spiritual clear sky ... lots of musical expression methods are around them indeed.

Kinda tough call to find a novelty or an innovative attention via such a soundscape / subgenre like theirs actually but the "pop / rock" composition quality and their brilliant play and technique can be felt awesome. No suspicion. And personally "Hypoventilate", flooded with drastically deep mental deflation, is my love. ;)

 Falling Satellites by FROST* album cover Studio Album, 2016
3.78 | 208 ratings

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Falling Satellites
Frost* Neo-Prog

Review by Ier

5 stars Finally, Frost* is back after eight years? And what a comeback it is!!! Wow! This album immediately grabbed my full attention the first time I listened to it! I can hardly contain myself when listening to this album, I can't sit still when I'm listening to it behind my desk. What can you expect? For the people who never heard Frost* before; think about Spock's Beard with balls! The music is energetic, fast and contains so much power! It's also a real mixture of different music styles, from dance to metal. Is this 'prog'? I don't care if this is prog, this is some splendid music! The band consists of wonderful, talented musicians; Jem Godfrey on keyboards and Chapman Railboard (never heard of that instrument before, but I'm sure it has something to do with Chapman Stick), John Mitchell (It Bites, Arena) on guitar, Nathan King (Level 42) on bass guitar and Craig Blundell (Steven Wilson) on drums & percussion. Jem and John are good lead vocalists who provide most of the lead vocals on the album.

First Day is a very good intro for the album, and is also the shortest track. The atmosphere evokes a certain feeling that this album is something very special? Which is absolutely true! Numbers is a great track, a mixture of 'Discipline era King Crimson meets The Police'. Towerblock is my favourite track of the album. It starts calm, but suddenly an unexpected, euphoric instrumental dubstep-like section kicks in. Signs has John Mitchell on lead vocals, and I love the lyrics of this track. Lights Out has guest vocalist Tori Beaumont singing along with Jem. This slow and magical track gives me goosebumps. A pop ballad, but somehow it reminds me of XTC. Heartstrings is in contrast to Lights Out a very up tempo track. The dual vocal parts are neatly done by Jem and John. The song slowly becomes a transition into Closer To The Sun, a very dance-like track. The Raging Against The Dying Of The Light Blues In 7/8 (what a short title, isn't it?) is the longest track on the album, which starts very furious and pushing. It's full of energy outbursts and soft moments. Nice Day For It is a real progressive rock track which contains certain musical elements you also hear in Heartstrings and First Day. Hypoventilate is like First Day a short track, like some sort of outro. Last Day is a soft and lovely piece of music, only containing vocals and piano. A stranger in our midst according to the style of the rest of the album.

This is music you will put on in your car and makes you exceed the speed limit, and you don't care when you're exceeding the speed limit anyway, because you're so caught up in the music. I'm sure that this album is going to be in my top ten albums of 2016, and I'm almost very sure it will be in my top three. This is a masterpiece. I actually want to give it ten stars, but five out of five is the highest score I can give. Well done, Frost*! Very well done!

Thanks to Cygnus X-2; Eric Walker for the artist addition. and to Quinino for the last updates

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