FREQUENCY DRIFT

I love a good hook, and a lot of times a good hook will push me to buy an album. That was the case with Frequency Drift, I was listening to the album on Spotify and 'Parted' hooked me. Once the song became ingrained in my head, I had to have the album. One sales meeting give away of an iTunes gift card and I had three new albums to listen to on the flight home. Laid to Rest was the best of the three (don't get me wrong, the other two were great as well).

I'm not going to do a song by song break down here, instead, I'll focus on the overall feel. As I mentioned earlier, Frequency Drift uses a longer, more drawn out song format similar to Gazpacho and Hogarth era Marillion. They differentiate themselves from their peers by the addition of Antje Auer on vocals providing them with a distinctively haunting female lead. I love her voice, though at times her phrasing needs a little work. In fairness that could be as much from singing in English instead of her native German. There are sections, especially in 'Parted' that are a little awkward. The good news is that this is the exception rather than the norm.

The second thing that makes these guys special is the instrumentation, the harp and violin are featured prominently throughout giving it an exotic feel. The violin of Frank Schmitz is exemplified by the Arabic accents throughout 'Dead' and again in the blistering solo in the latter half of 'Parted' . . . and how often do you get to hear harp these days. Adding to the exotic feel, Nerissa Schwarz adds another dimension to tracks such as 'Parted', 'Wish' and 'Copper'.

The third great thing about this album is the Middle Eastern feel throughout. I personally love the Arabic chords and tones scattered throughout the album. I think every song has some element of Arabic music ingrained in it. It's not used to excess, rather just the right amount and just the right times.

I started this out with the intent of giving the album four stars, but I've convinced myself that it deserves a full five stars. If you like the exotic aspects that I mentioned above don't miss this release.

To say that Laid to Rest is an upgrade is entirely within the realm of the sound emanating from the loudspeakers, a deeper sense of symphonics and wider use of dynamics are now front row center. They are masters of the 15 minute track, as witnessed by the impeccable "Cold" and its poignant follow-up "Wish", the master spine of this brilliant recording. The 9 minute "Ice" and the 12 minute "Copper" finish off in grand style, making this a must-have for fans of cinematographic prog, with lush doses of folk, symphonic and eclectic prog. They propose a curiously successful mixture of traditional folk effects, dabs of electronica (they are German after all) and bluesy rock colorations (especially on lead guitar), stretching the extremes between icy and sizzling. Antje Auer has a crystalline voice of haunting beauty, clearly influenced by legends Kate Bush and Marta Sebestyén , loaded with inflected passion and genuine power.

The über-Saharan feel of "Dead" is evident from the Frank Schmitz' tortuous violin entrance , welded to the breathless voice, furthered along by the dreamy keys and killed off by a bluesy electric guitar solo that seeks only to retain the track's intent towards a sense of purity. This sounds highly Arabic when the lush clarinet puts its own two cents worth but resolutely modern when the synths and the clanging harp kick in. Bloody marvelous, I say! "Parted" has a more medieval feel, soon bolstered by a funky bass stick and chaka-chaka riffs, sultrier violin and elegant piano as well as some profound singing. To prove how good the rest of the album is, this is its weakest track and yet most enjoyable!

"Cold" is a stunner! A tremendous slice of musical genius that has all the tools to become a prog classic, voice and piano to begin and then plunges into the sublime, a dense, deeply atmospheric, trippy voyage in the most original sense. Antje's plaintive execution is child- like and sorrowful , the lyrics are movingly unpleasant "Cold is the finger of the dead" she intones, as the beat becomes intense , bass shuffles menacingly and the pounding rhythms escort the whistling synth solo. This is prog nirvana! A song from the crypt, ghoulish and satanic, as witnessed by the wily violin, ripping magically like some former flute (The Magic Flute?), the result devastating and masterful. At its center, the mood swerves into a tough edge, utterly melancholic and hypnotic with Antje returning to the microphone, wailing convincingly her cemetery epitaph. This is a glorious symphonic bath that one needs to luxuriate in, excited by the bubbling thrill of it all. Yeah, "cold is the finger of the dead". Relentlessly expressed. Wow!

The Floydian "Wish" is even spookier, cracked and hushed voice among the numerous effects, as the rolling bass moves this theme gently forward , devilishly restrained and then, BAM!, the lead guitar carves out a simple melody that soars and scours the skies, laden with profound feeling and angst (a deadly prog duo when done right). This gets heavier when Antje goes furiously ahead, ebb and flow with "creep into my narrow bed", the choir- like synths and the general bombast are to expunge over! The clarinet then makes a welcome and lengthy apparition, rivulets of romantic wind and forlorn piano. And of course, a blitzy guitar solo to send this one into the horizon. Deadly stuff! As if that wasn't enough jubilation, panting voice and Celtic harp do a little number and the gloomy beauty now becomes pervasive, blasting another axe solo searching in the presence of some thoughtful aura. Back and forth between serene and neurotic, the segments bounce around like a Boris Becker serve, keeping the listener in awed anticipation of what may come next. Unpredictable, creative, bold and structured all at the same time, this is a prog mind at work here, sounding like nothing else I have ever heard. It may be too sedate for the metalloids out there but the sheer quality of the arrangements and the restrained brilliance of the players are beyond the norm.

"Ice" is daringly bluesier, strings in tense symphonic explosion and a more conventional vocal performance that relies only on its own merits, weaving a prickly melody that transcends the border between Medieval and Gothic , a colossal tidal wave of strings spin a web of delight (that's imagery for you!) and finally overcomes any distant listener to its knees! I could listen to this all day. Swells of synthesized emotion careening over the edge. The finale is heavy, big fat bass growling in Wagnerian stringed fury, kick ass all the way. When the lead melody returns, it's just breathtaking! You have to hear this to believe it.

"Copper" has a traditional northern European feel , Antje howling in the wind, passionately involved and a musical backdrop that keeps the structure in tight unison and free creativity. A lovely heart-felt ballad that suddenly veers into a totally alternate realm, a second section that dares to experiment sonically, synths groaning audaciously. Then, a whopping Gilmourian solo screeches through the clouds and BAM! The whole song just bloomed into another level of depth, cinematographic big time. Some Celtic harp within a baroque setting veers the song into more Southern European climes, a feat that is clearly not something the musical Germans do well historically, proving that the country has really become a more open society , hungry to expand their intellect and their artistic expression. The hard-edged violin solo is another step in their magical staircase. . The finale infuses those folk tendencies that litter this release, a slight Eastern European/Gypsy/ Middle Eastern feel, abetted by slithering violins and a slew of quarter tone meanderings. The hard-edged violin solo is another step in their magical staircase. .

A tour de force that will consecrate this fine band once and for all as a prog leader. All potential doubts will be 'laid to rest' for good! Fans of Iona (though their last one was terribly disappointing), Karnataka, Mostly Autumn and folk/symph prog will LOVE this!

5 event floats

Frequency Drift is a band that is fond of and skilled at creating enticing moods and atmospheres, and on "Ghost" we're provided with an hour of music that associates well with the album name. Haunting, fragile and folk oriented themes and dark, majestic metal oriented ones represent the extremes, with a fair few ambient inserts of a musical and non-musical nature along the way. Cinematic progressive music is the band's own description from a few years back, and one that is still an apt summary of their material.

As we all know that many prog albums that refer themselves to book as their landscape to develop the storyline of the concept album. But then I find Frequency Drift positions themselves as cinematic prog band from Germany. I am not quite sure I understand this kind of prog subgenre, but looking at the CD artwork that has many graphic art and no photos of the band members it then confirms my understanding that this band use movies as their musical landscape. I am not a movie lover but I enjoy this album without any reference to any kind of movie.

The album starts atmospherically good with an opener Crows (2:02) that beautifully serves the coming of the next track Dreams (11:53). Oh man, I love this second track as it flows naturally from the opener and brings me peacefully through a series of different music moods from intro into end of the music. There is component of Pink Floyd with great insertion of violin to augment excellent vocal line. The guitar work is also stunning. I think the most enjoyment of this second track is its flow which is really great combining changes of mood, demonstrating great vocal, violin, flute work as well as guitar solo. It's really a track with memorable melody enriched with excellent musical passages. It's hard for you for not loving this second track, really! The violin work man .......it's killing me! Especially with its follow-up of guitar solo! Try this one and I guarantee you will love it! Sadness (4:10) starts something Pink Floyd really - but of course with different energy. Again, I love the flow really! From the track starts I feel blown away throughout the song as the composition offers excellent articulation of every musical segment through excellent female voice backed with guitar and long sustain synthesizer at background. The next track Tempest (10:02) starts atmospheric using keyboard effects followed with nice piano fills. The music moves slowly followed with very nice guitar solo. Yes, you might refer to Pink Floyd even though it's different. Again I enjoy every bit of musical segment while listening to this album. It creates great listening atmosphere if you play it loud while sipping a cup of coffee! Oh man ......what a life! It's terrific!!!

Ringshine (2:56) serves like a short break through a musical silence exploring some musical instruments without drums. It plays its role nicely to bring the music into next long track Dance No More (9:57) which is another interesting track. If you love something psychedelic, you will find this song is great. It has great flow, excellent composition especially with its ability to bring wonderful listening experience through different kinds of moods. Again, I love the combination of excellent vocal and guitar - keyboard combined effort. I love the stunning guitar work! The rest two tracks Mermaid (9:44) and Come (7:54) are all excellent and I enjoy the violin work combined with piano fills at background. The concluding track Come really kills me through its flow and instrument solos at the end part of the song. Excellent!

Overall, I would rate this album as four stars PLUS because it has excellent composition and very good performance of the players. The dominant factor is the flow that is really great! You must have this album. Keep on proggin' ...!

Peace on earth and mercy mild - GW

"Crows" opens with the sound of crows as gentle piano takes over with acoustic guitar.The crows are back late. "Dreams" opens with the drums, guitar and piano standing out. I like this. Vocals after 2 1/2 minutes as it settles. I'm not really liking this section. Great sound though around 7 minutes with the violin leading. Flute takes over then guitar. A calm with water sounds ends it. "Sadness" has a definite PINK FLOYD flavour as the vocals join in. It picks up. Some atmosphere before 3 minutes as it settles but it's brief.

"Tempest" sounds so good when the guitar comes in. Vocals later at 4 minutes and they turn more passionate a minute later. Excellent guitar solo 9 minutes in then a haunting atmosphere ends it. "Ringshine" is a nice interlude with acoustic guitar. "Dance No More" kicks in before 2 minutes with some good drumming. Vocals before 3 minutes then a calm after 6 minutes. It's fuller with vocals a minute later. Some nice guitar after 8 minutes. "Mermaid" opens with atmosphere as reserved vocals join in. Some abrasive sounds after 3 1/2 minutes when the vocals stop. It's heavier a minute later as the guitar rips it up. It then settles back after 6 minutes. "Come" ends it with mournful violin then reserved vocals and piano. We do get a heavy section around 5 1/2 minutes.

So a good album to be sure but that's all it is in my books.

Frequency Drift's 2011 "Ghosts" release is truly a WONDERFUL album! While it is their 3rd published body of works, I confess it is my first exposure to the band. I was easily, easily won over.

I greatly enjoy female-fronted melodic prog/rock genre (Mostly Autumn, Iona, Karnataka, Magenta, etc.), so in featuring Antje Auer's perfect vocals, Frequency Drift delivers on that front very well. Musically, I'd like to refer to "Ghosts" is a collection of eight 'soundscapes'. As other reviewers have noted, there is a healthy dose of atmospherics here, often with wispy and ethereal textures that would sate the palette of any lover of ambient music-- checkout the track "Ringshine"! One of my favorite aspects of this CD is the tasteful inclusion of classical acoustic instruments. Piano, violin, and flute are not only featured, but are often foremost, and skillfully played.

But that's not to say the disc doesn't have any muscle. When FD kicks it up, you'll take notice -- powerful backbeats with soaring guitars and multi-instrumental polyphony embellish the songs throughout, as featured on the tracks "Sadness", "Tempest", and the closing to "Come" . For a real treat, sample the instrumental portion of "Mermaid" ~3:00 mark. Whoa! It will float you away on the waves easily at first, but soon plunge and spin you into a transcendent, dissonant cacophony that images so well the theme of the song. One of the most astounding musical moments I have come across in prog rock this year!

This is an album of transport-- I doubt it could be played as mere background music. The ebb and flow of the song structures, the beauty, the power, the emotion are riveting. To prepare yourself for this gem, don your favorite headphones, darken the room, and curl up in a cozy chair -- and get ready to ride off to another world.