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FROST*

Neo-Prog • United Kingdom


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Frost* picture
Frost* biography
"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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Buy FROST* Music


MilliontownMilliontown
Inside Out Music 2012
$13.07
$8.08 (used)
Falling SatellitesFalling Satellites
Extra tracks · Limited Edition
Inside Out Music 2016
$12.98
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FROST* discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

3.80 | 388 ratings
Milliontown
2006
3.63 | 288 ratings
Experiments In Mass Appeal
2008
3.77 | 191 ratings
Falling Satellites
2016

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

4.18 | 57 ratings
The Philadelphia Experiment
2010

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

4.74 | 29 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)

2.63 | 13 ratings
Tour Sampler 2008
2008
4.77 | 18 ratings
Frost*Fest Live
2009

FROST* Reviews


Showing last 10 reviews only
 Milliontown by FROST* album cover Studio Album, 2006
3.80 | 388 ratings

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Milliontown
Frost* Neo-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo 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
3.77 | 191 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
3.77 | 191 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
3.77 | 191 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
3.77 | 191 ratings

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Falling Satellites
Frost* Neo-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo 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
3.77 | 191 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!

 Experiments In Mass Appeal by FROST* album cover Studio Album, 2008
3.63 | 288 ratings

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Experiments In Mass Appeal
Frost* Neo-Prog

Review by Progrussia

4 stars On their second album (there would be quite a pause before the third), Frosty the snowmen largely drop the neo-prog and concentrate on dissolving prog in modern rock sounds - heavy guitars, catchy melodies and lots of electronic effects. While being shorter, at the same time songs are pretty complex, full of rapid tempo changes and layers of instrumentation. Some of these songs are so dense, that you might be thinking that the song is almost over, but then you check the clock and see that only two minutes have passed! The first two tracks are mostly about quiet/loud dynamics, but the rest gets more interesting. One thing I've wondered, though. Frost's mastermind, Jem Godfrey, as a producer worked on some songs from the now forgotten girl band Atomic Kitten. Did he name Frost in honor of one of the girls, Jenny Frost?
 Milliontown by FROST* album cover Studio Album, 2006
3.80 | 388 ratings

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Milliontown
Frost* Neo-Prog

Review by Progrussia

4 stars Out of the better known modern prog acts, Frost* (yes, with a cute snowflake, although sometimes it pops up in my iPod as The Frost) sat on my shelf the longest, for five years. I don't really know why, as it presented an admirable attempt to bridge neo-prog with modern rock, and featured among members John Mitchell, who became a defining part of the latter-day sound of Arena, along with Clive Nolan, and Andy Edwards, who provided a needed kick of energy to IQ's Frequency album. Maybe because I had trouble making it through the 25-minute Milliontown, which has a rather boring middle part (the beginning and end are good).

Anyway, this ain't half-bad. Compared to the follow-up, it still has kind of a split personality. 3 longer songs are neo- prog epics, basically a succession of typically neo-proggish catchy energetic synth and delayed guitar effects solos with slower verses in between. And the other 3 belong to modern rock family - heavy and/or densely layered, with loads of electronic effects to them. Later they would take more in the second direction.

 The Rockfield Files by FROST* album cover DVD/Video, 2013
4.74 | 29 ratings

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The Rockfield Files
Frost* Neo-Prog

Review by friso
Prog Reviewer

5 stars Frost - The Rockfield Files (2013)

Neo-progressive rock never sounded more brutal. I doesn't happen to often, but I fell intimidated when seeing this live in the studio recording on youtube. Frost is a supergroup I got interested in because of John Mitchell, of whom I adore the contributions to my favorite Arena albums. In this group he is however an equal to the brilliant & energetic Craig Blundell on drums, Jem Godfrey on keyboards and Nathan King on bass.

Frost plays a hybrid of neo-progressive rock, fusion and symphonic metal that is highly sophisticated and keeps fresh and surprising throughout this set. The key-element is however the energetic and enthusiastic feel the music has, only enhanced by the footage of the studio - which shows a professional band having fun whilst playing this very technically advanced sort of progressive music. The drums of Crag Blundell are the best I've ever heard in a modern progressive rock group; wild, expressive and getting every-one excited. I personally don't like some of the vocals of Jem Godfrey, but that's just because of the poppy tone of voice. Not because the quality of the vocals. The guitars of Mitchell sound great and seeing him perform in such a sophisticated fusion landscapes is just amazing. Nathan King successfully finds passages to show his great skill on the bass-guitar in a constructive way.

Right from the first moments of 'Hyperventilate' the band manages to impose their greatness on the listener and during the coming hour the group doesn't leave you in doubt for even a short moment. Five stars.

More reviews requested. The concert can be watched freely on youtube.

 Milliontown by FROST* album cover Studio Album, 2006
3.80 | 388 ratings

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Milliontown
Frost* Neo-Prog

Review by FragileKings
Prog Reviewer

3 stars Another album I became aware of from PA's top fifty popular artists in the last 24 hours, the reviews of this album indicated that this was an album to be excited about. In particular, the quote in the artist profile from Jem Godfrey about most prog bands acting like the last 30 years in music didn't happen had me wondering how this progressive rock artist would approach making a prog album.

Making a blind purchase, I had it in my ear buds the day after I got it and listened. The opening instrumental really made a deep impression. Opening with what sounds like a wooden flute, the song instantly reminded me of a predawn mountain lake with the first light in the sky over silhouetted mountains. A delicate tinkling piano melody suggests that sunrise is drawing near and then as the sun comes up the bass and treble notes create a beautiful melody. As the music builds, light percussion joins and then suddenly the music erupts in a full scale melodic, almost metal sound full of richness. This is just the beginning. As the music develops, there is more piano, some explosive synthesizer solos, searing guitar solos that remind me of Steve Vai, voluminous rock in the vein of Steve Morse, and some marvelous neo-prog rock sounds. By the time the track wraps up, I am eager to hear what will come next, my ears practically smoking.

However, the next three tracks are a let down. "No Me No You" starts out promising enough with some manipulation of speaking voices that might have come from a Butthole Surfers album. Then heavy chugging guitar and the song that sounds very mainstream. The chorus contrasts the edge of the verses by being more melodic. The vocals have the slightly raw sound that many mainstream, popular rock bands have these days, the kind that sometimes sound like there is far too much breath coming out for the words sung. It's okay but reminds me too much of what I could expect to hear on Vancouver's rock radio station if I were back home. The middle part gets interesting but it's an insert in a heavy pop song.

"Snowman" just goes right by me. Each time I listen to it I lose concentration and think of other things. It has a kind of synthesized pan flute sound (two notes only) that sounds like a flute was recorded at the highest volume possible and then sampled. Thankfully, this is the shortest song on the album.

"The Other Me" is also a mainstream heavy rock song and unless I actually play it I can't recall how it goes either. But things really start looking up by "Black Light Machine". Where the first track, "Hyperventilate" gave us such rich music, "Black Light Machine" now does so with a song, too. At just over ten minutes, there's room to let the music move through different phases and show off once more the band's ability to shift effortlessly from light piano passages to thundering heavy rock to synthesizer-driven neo-prog. After listening to this again this morning, I was inspired to put this song on a playlist to burn to CD for long drives.

The last track is an epic over 26 minutes long. "Milliontown" doesn't introduce anything we don't already know. In a way, it's like the best parts of the album condensed into one composition, the Coles Notes version of the album, sort of. We have more of the heavy pop music, the wonderful synthesizer solos, the Steve Vai guitar, the prog metal pounding, and everything else except for the flutes, real or sampled. My problem with this song is that it seems to just keep going on and on. It's like ten songs chopped and stitched together and reminds me of how Transatlantic's long songs sometimes feel. While it's nice to hear such creativity, I feel like they just looked for any cool studio jam part to fit in. There's even a short passage of maybe sixteen bars that sounds like classic Genesis.

Without looking at the time counter you'll be kept wondering when the song will wrap up. There's a big anthemic keyboard melody that sounds like a great finale, but the song keeps going. There are some great guitar and synthesizer solos, and the song continues. The melody introduced at the beginning reprises, and the song continues. Even when the last big wallop seems to herald the close of the song, it is followed by a return of the piano and another minute of playing until the last note is sustained for yet another 17 seconds before the track finally and truly comes to its temporal conclusion. There's some excellent music but as the band dispenses with the usual practice of dividing epic songs into parts at least in title, it's a bit puzzling why so many musical themes were necessary.

The only other slight complaint about the album is that it is produced really loud. Except for the pretty piano parts, the volume of everything is loud like a bombardment of music. On the one hand it makes the album seem full and rich. On the other hand, it makes any kind of subtlety nearly impossible. That beautiful opening with flute and piano is a wonder.

"Hyperventilate" continues to be a joy to listen to and now I have come to appreciate "Black Light Machine". But the rest of the album doesn't exactly beg for repeat plays unless I want to undertake the task of inundating my brain with the extensive "Milliontown".

Thanks to Cygnus X-2; Eric Walker for the artist addition. and to E&O Team for the last updates

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