GAMLE MESTER

Lars Fredrik Frøislie is the keyboardist for iconic bands like Wobbler, Tusmørke, White Willow, and projects like The Chronicles of Father Robin. Lars never stops?he's always creating something interesting. He owns an impressive collection of analog keyboards, including a Chamberlin Mellotron, which is almost impossible to find. Well, he's got one.

This is his second solo album in two years. The first, Fire Fortellinger, received very positive reviews. Frøislie, a lover of '70s prog?especially Italian prog?decided to sing in his native Norwegian, which gives the music a unique touch.

Once again, as with the previous album, Frøislie plays all the instruments, including vocals, and he does it remarkably well. He shares duties again with bassist Nikolai Hængsle and flutist Ketil Einarsen.

Gamle Mester is a bit stronger than Frøislie's previous album. The music is now more complex and slightly less folk-oriented. The keyboards take on a new dimension, and the compositions are inspired by mythology?the power of the gods over mere mortals.

The album feels warm and shares many similarities with Wobbler?except this time, Andreas Prestmo is missing. For fans of that band still waiting for something new, this record helps fill the void, but at the same time, it stands strong on its own. Personally, I think this album is changing certain parameters more than simply repeating what's already been done. I don't know how, but there's a lot of originality here, even though it clearly carries many influences. Lars Fredrik Frøislie, despite wearing his inspirations on his sleeve, manages to stand out and carve out a world entirely his own.

A great record to keep in mind in this extraordinary 2025.

Frøislie has long been celebrated as the PROG MESTER, a true master of vintage keyboard arts, known for his work with Wobbler and his reverence for the classic sounds of the 70s prog scene. with his latest solo release, Gamle Mester, Frøislie steps into darker, more introspective territory, drawing deeply from the well of Scandinavian prog that flourished in the 90s ? one of the greatest eras in the genre's history.

Opening with the epic "Demring," Frøislie immediately establishes a more brooding, atmospheric tone that feels like a spiritual successor to the foreboding passages of Änglagård and Landberk. This track, in particular, evokes the same cold, melancholic textures that defined the Swedish masters of that era ? in my opinion it's a significant shift from the more jubilant, folk-tinged brightness of many Wobbler compositions. Yet, this change feels entirely organic, as if Frøislie is tapping into a long-simmering creative reservoir, rich with vintage Mellotron, searing Hammond organ, and haunting flute lines that echo through the icy Nordic mist.

Previously released tracks like "Gamle Mester", "Kalydonske" showcasing Frøislie's unparalleled ability to weave complex, adventurous compositions that blend the warmth of analog synths with the sharp bite of raw, Scandinavian atmosphere. It's hard to describe in words what the scandi prog sound is. It's this fusion that sets him apart, making him one of the few artists today, if not the only, who truly capture the spirit of classic prog while pushing its boundaries into a completely new, shadow-laden territory.

For fans of adventurous, keyboard-heavy prog with a taste for the darker side of the genre, Gamle Mester is a triumphant return to form. Frøislie has crafted an album that not only stands tall alongside his past work but also pushes the boundaries of what modern prog can be. It's the kind of record that demands repeat listens, revealing new layers of complexity and emotion with each spin ? a true contender for album of the year in the progsphere.

I wasn't expecting a second solo album from Lars Fredrik Frøislie so fast, given the tediously long waits between Wobbler albums (look at the wait between Rites at Dawn and From Silence to Somewhere, literally six years, so the big shock of the three years for Dwellers of the Deep). COVID hits, so slowing down the already slow process for a new Wobbler release (better than being overran by releases like Ayreon or the Flower Kings), so Lars records a solo album in the form of Fire Fortellinger. That one took me by surprise because I was wondering what a solo effort might be like from him. Wonder no more. I was expecting maybe he'd get Martin Nordrum Kneppen of Wobber to do the drum parts, but instead Lars did it, and he even did the vocals. In fact, he did it all aside from the bass parts. I was amazed with Fire Fortellinger, but looking back I felt there was room for improvement but improved he did. I felt on Fire Fortellinger maybe he wasn't completely confident going on a solo venture, but with Gamle Mester he certain has. Once again it doesn't take any rocket scientist to figure out how important Lars is to the Wobbler sound, it's obvious. To me, it sounds like if Tusmørke made full-on symphonic prog in the vein of Wobber with a bit of Jordsjø thrown in. Lars's vocals sound like Benediktator of Tusmørke. Instead of four cuts, here it's six, and it's full of everything you want, lots of authentic vintage keyboards, including Mellotron and even the Chamberlin M1 (I remembered back in 2009 seeing him purchase that Chamberlin from an American seller on YouTube and Wobbler was starting to record Rites at Dawn then, to be released in 2011) and lots of great arrangements. To me the highlights are "Jakten På Det Kalydonske Villsvin", the title track, and "De Tre Gratier". To me, this is some of the finest prog to have come out in recent years, and if you love Fire Fortellinger, get Gamle Mester right away, it's deserving a classic!

Prog Rock Canuck (Canadian) Review Lars Fredrik Frøislie album Gamle Mester

The much anticipated follow up to Lar's last album, Fire Fortellinger has finally arrived and it starts off with a bang. An instrumental opener, Demring, that has all the elements of classic 70s prog but with a overall sound that is unique to the composer. In other words, you can hear other influences from the keyboard greats of yesteryear, think Emerson, Wakeman but still distinctively Lar's in the end. It starts off light with the organ, gets heavy and ends light with piano. Plus several twists and turns along the way in this short track. It sets the stage for where the rest of this album is going. A great introduction to this composer's music for anyone new.

The second track is heavy right out of the gate. And the first longer track of the album, its called Jakten Pa Kalydonske Villsvin. Also the first track to have vocals and what a pleasant surprise, the vocals sound so much more confident here than on the previous album. Also fits in better in the overall mix. Many of the instrumental sections in the first two thirds of this track harkens back to an ELP like sound but the last third of the track is my favorite. Much slower and atmospheric. Featuring some beautiful flute work over repeated piano lines.

Next we have the Title track. I must say that this instrumental piece, Gamle Mester could have been the opener and swapped places with Demring. Either track would make a great introduction to this composer's music. Very accessible. I played it for a 'non prog rock fan' and she really enjoyed it. All the elements of traditonal prog are here, odd time signatures (7/8 for the win!) and time shifts along the way with punchy drums and Ricky bass, and of course, Lar's multi layered keyboard tracks.

The fourth track, Medusa Flate really hits hard at the start (think ELP/Anglagard) but by the time we get in to the sung verses it surprisingly shifts into a YES like, prog popper. I actually felt like dancing. Half way through we''re back to heavy again and closer to ELP, (Think Trilogy album).

The fifth track, De Tre Gratier is the longest track on the album, and most interesting, start to finish. It opens soft with harpsichord and perhaps electric piano (not sure). Very beautiful start. Next we get heavy and although this sounds like pure Lars, I also hear an underlining framework of something that Yes might have produced. Then we are back to the beautiful harpsichord, and at this point I must beg Mr. Froislie to produce a future album of Harpsichord music. His playing of this instrument is exquisite. We also hear some lovely organ and mellotron through this section. Speaking of the mellotron, this album is certainly for lovers of this instrument. The final instrumental moments is a mixed bag, full of multiple instrument switching as to which is the lead instrument until the piece is over. There's also a slight Jethro Tull sound in spots. Like I mentioned at the beginning of talking about this piece, it truly is the most interesting on the whole album and will be great for repeat listens.

The final track and we're back to a full instrumental. Skumring starts off real soft with very atmospheric piano. It picks up a bit in the middle but never really gets heavy. It's a nice gentle way to close the album. It also leaves you with the urging to start from the beginning again.

Gamle Mester is truly an almost perfect album. I'm really tempted to give it 5/5. And I am delighted to see that in just a couple of days since its official release, it has already topped the Prog Archives chart for 2025. Congrats Lars, you knocked this one out of the park (baseball reference, home run).

Norway's all-star virtuoso keyboard player is back with his second solo album.

1. "Demring" (5:01) an instrumental with a keyboard-centric YES-like sound palette used to construct a piece that could pass for a Wakeman-like piece that is informed by pre-20th Century classical music traditions as well as, I'm sure, some Norse folk melodies (and cheerful spirit). (I have to admit that the song's opening had me expecting a lead into something more like BOSTON's "Foreplay.") The delicate parts are my favorite despite the use of "dated" 90s electric "acoustic" piano sounds--I like the infusion of the John Tout-like Russian feel here. (9/10)

2. "Jakten På Det Kalydonske Villsvin" (10:09) a cool "little" epic that seems to bridge some of the sound produced by SEVEN IMPALE, IVAR BJØRNSON & EINAR SELVIK's Viking Prog Folk (2018's Hugsjá), and WOBBLER while presenting something that feels as if it was some relic from the 1970s that was just discovered in an old trunk hidden in a Norwegian country farmhouse. Unfortunately, this song does little to draw me in, hold my attention, or wow me: Lars' vocals and melody lines chosen for his vocals are a bit too foreign (or just plain drab and monotonous) to the way my little American brain has been conditioned. (17.5/20)

3. "Gamle Mester" (7:17) in terms of the flow of this album, this song feels immediately as if it is a more dynamic continuation of the previous song. As one lets oneself get immersed, it begins to feel and sounds like a song that was inspired by FOCUS' "Hamburger Concerto"; as masterful--and, I don't doubt, original--as this piece is I never stop hearing the Focus song at any time in Lars' song (okay, maybe for a bit during that seventh minute)--which, I have to admit, does, unfortunately, distract me. (13.375/15)

4. "Medusas Flåte" (9:08) injecting a little more guitar rock (and BLUE ÖYSTER CULT/FALCO/ SIMPLE MINDS sounds and melodies) into his mixes (despite still being generated by keyboards) sounds like it might be a good idea, but it is the more "natural" (or, perhaps more accurately, "familiar") keyboard sounds and tracks that attract my attention (despite their being "familiar" due to their presence/prevalence in the "classic" symphonic prog music created back in the 1970s). I like the prominent organ work in the song's third quarter. (17.75/20)

5. "De Tre Gratier" (12:27) harpsichord opening certainly propels one back a few centuries. But then full prog palette bursts forth at 1:00 to present a conglomeration of multifarious layers for the next three dynamic minutes before devolving back into a harpsichord piece over which Lars lends his gentle vocalese before a synth enters to solo like a wood nymph. At the end of the eighth minute the more bombastic motif returns with Ketil Einarsen adding his wonderful woodland flute prominently to the mix, becoming the lead and co-lead during the tenth and eleventh minutes, respectively (as I hear in my head the high-reaching voice of Andreas Wettergreen singing like he did on Wobbler's wonderful Rites at Dawn LP from 2011--which is still my favorite album from that band). At 9:20 Ketil and Lars transition into a slower pastoral motif as a bridge to the song's final motifs: first pounding militaristic rhythm then the more JETHRO TULL-like Bluesy Prog Folk stop-and-go motif--both of which Ketil continues to lead over the rest of the layers--until the final 90 seconds when Lars merges several of the previous motifs into a multi-layer weave until the delicate little dénouement of the final 10 seconds. It's empirically quite a nice composition--perfect as an example of the "prog epic" format--with lots of twists, turns, stops, rocket launches, layers and well-harmonized weaves; it just fails to win me over--fails to get my adrenaline pumping or heartstrings pulled. (22.125/25)

6. "Skumring" (3:13) solo voce of that "dated" 90s electric "acoustic" piano. Maybe Mussorgsky would've used the same equipment if he were a product of the 21st Century! The the piano is the star, I really do like the way Lars uses the timpani, cymbals and Mellotron. (9/10)

Total Time 47:15

I feel as if I'm sitting on a fence with regards to how I feel about this album. Despite well-conceived broad-scale keyboard-oriented compositions, I have to admit that retro/"classic era" imitative music like this finds itself falling on numb ears: I just don't enjoy it (anymore); it rarely feels fresh to me. While I respect Lars' careful and insightful homage to the pillars of the Ancients, it's just not where my interests or preferences lie. At the same time, I do find myself quite entertained by Lars' keyboard work--especially his performances on the various organs--and especially in the thinner, more folk/pastoral passages.

As I stated in my review of Lars' previous solo album, 2023's Fire Fortellinger: despite Lars' obvious overflow of talent, I do think he would benefit from more inputs from other collaborators (besides the wonderful Ketil Einarsen and bass wizard Nikolai Hængsle)--(especially a drummer)--if only for a broadening spectrum of ideas (and sounds). (Perhaps he's been publishing these solo albums due to his former band [Wobbler]'s sluggish output since 2020. Perhaps they've even disbanded?)

B/four stars; a masterful conveyance of expertly-conceived "retro prog" that, for whatever reason, fails to draw me in emotionally. While I applaud the music from an intellectual perspective, that isn't always enough for me.

A MUST FOR THE VINTAGE KEYBOARDS AFICIONADOS!

After his first solo album Storytelling from 2023 here is Norwegian multi-instrumentalist Lars Fredrik Frøislie (Wobbler and White Willow) with his second solo album entitled Gamle Mester (which means Old Master). Like on the previous album Frøislie takes on vocals and drums, as well as an impressive array of analogue keyboards: from the Hammond C3 organ, Mellotron M400, Minimoog Model D synthesizer and Chamberlin M-1 (pre-Mellotron) to the William de Blaise Cembalo Traverso harpsichord, Hohner D6 Clavinet, Rhodes Mk II electric piano and Arp Pro Solist synthesizer. Joining him are Nikolai Hængsle (Elephant9, Needlepoint, Bigbang and Band Of Gold) on the mighty Rickenbacker 4003 bass and Ketil Vestrum Einarsen (ex-Jaga Jazzist, Weserbergland and White Willow) on flute and recorder.

Wow, what a wonderful keyboard driven album, featuring tons of exciting vintage sounds, backed by an excellent rhythm-section with an often growling bass and dynamic drums, and at some moments layered with pleasant native vocals. Most of the 6 compositions contain flowing shifting moods, between mellow, mid-tempo and bombastic, very tastefully arranged.

From a wonderful churchy Hammond, soaring Mellotron violins (evoking Trace) and flute to mellow with piano and Mellotron choirs, in the vein of Rick Wakeman, in Demring (Dawn) (5:01).

Lots of variety, between dreamy, a catchy beat and bombastic, embellished with Mellotron, harpsichord, piano, Emersonian Hammond and Minimoog, and topped with flute and native vocals (evoking Anglagard) in Jakten Pa Det Kalydoniske Villsvin (The Hunt for the Calydonian Boar) (10:09).

A cheerful atmosphere and a wonderful churchy Hammond solo (sounding like Procol Harum) in Gamle Mester (Old Master) (7:17).

Between mellow climates and sumptuous interludes featuring an overwhelming vintage keyboard sound (evoking Anekdoten), from Mellotron choirs to a swirling Hammond solo (Jon Lord comes to my mind) in Medusas Flate (The Raft of the Medusa) (9:08).

The alternating longest track De Tre Gratier (The Three Graces) (12:27) delivers again an awesome vintage keyboard sound: dreamy electric piano, majestic Mellotron choirs, a pitchbend driven Minimoog solo and tender harpsichord, topped with native vocals and sparkling flute, and fuelled by a dynamic rhythm-section.

And finally the short Skumring (Dusk) (3:13) that features beautiful interplay between Grand piano (from tender to sparkling) and intense Mellotron choirs, the moods shift from dreamy to bombastic, the rhythm-section does a great job, what a short but very dynamic and compelling track.

This is Vintage Keyboard Heaven, highly recommended to the aficionados of Trace, The Nice, ELP, Triumvirat, Rick Wakeman solo and the Skandinavian prog like Anekdoten and Anglagard!

The 2nd solo album, following the splendid Fire Foretellinger (2023) from Lars, the keyboard player from Norwegian Prog band Wobbler (and previously Tusmorke) is further proof that new classic-style Symphonic Prog is alive and well in 2025. Froislie plays all the instruments (and vocals as well), with just some help on bass (from Nikolai Haengsle of Elephant9), and of course a big emphasis on keys/synths, with the great diversity of keyboard sounds and styles always hitting just the right feel for the song. Containing 6 tracks varying in length from 3 to over 12 minutes each, these are richly textured, complex, and dynamic songs, as Froislie weaves his melodies and compositions with some recognizable touches from previous masters (Genesis, Yes, Jethro Tull, ELP, Gentle Giant, etc.), along with modern Scandinavian influences, but is never derivative, creating remarkably fresh, warm and adventurous songs. Mostly instrumental, but with vocals (in Norwegian) sparingly added where they can be used to best augment the songs. The theme of the album comes from "Den Gamle Mester" (The Old Master), an ancient oak tree and poem, with inspiration drawn from art, literature, and mythology, but of course it is the masterful musical musings that make the album such a joy to behold. A powerhouse of modern symphonic prog and among the best albums of the year. Best Tracks: De Tre Gratier, Gamle Mester, Demring, Medusas Flate. Rating 4.5

1. Demring for the ascent with the different keyboards, a touch of early GENESIS, the majesty of the piano, the old sound, it reminds me a bit of CEN-PROJEKT 2. Jakten På Det Kalydonske Villsvin for the 1000% vintage atmosphere. From the keyboard, a vocal typical of the area, not just any Norwegian; beautiful in the genre, but hey, it's 2025, we should think about it a little; the finale with its old-fashioned flute is worth the trip, between solemn and elegiac, 3. Gamle Mester for the 'rendez-vous en terre inconnue', fresh air, lively, danceable, almost a snub to this outdated genre locked in its blinkers; The track then moves into a nostalgic, psychedelic suite with hints of the 60s, a time when prog was still in the gargantuan belly of rock.

4. Medusas Flåte is noteworthy for its combination of voices and instruments of the time; for the distant organ that taunts the drums; the once jazzy finale suddenly deviates into the territory of John Lord of DEEP PURPLE, the sound rises, there's even a wind of fury before the return of the Norwegian voice, reminding us that we're in the middle of an icy desert. 5. De Tre Gratier, for the folk harpsichord intro, the ballad of the last days of wandering in the dark steppes; a familiar progressive moment that will make those immersed in this outdated but oh so melancholic and nostalgic atmosphere regress with pleasure, leading the listener to isolate themselves from the surrounding world. The album finally finds its feet by offering a fresh, energetic, and invigorating folk sound. The finale is all about the stacked and stored layers, a fine stylistic exercise lacking the prog blood that brings life; here it's dry. 6. Skumring for the piano, choir, and keyboard finale, or the solemn piece that sends shivers down the spine; there's this archaic stroll through Genesis time that freezes time.

A beautiful album that doesn't bring anything new; beautiful keyboards, melodies but with this already seen, already heard that doesn't move me enough. Released 20 years ago I would have still remained silent but here the gap with these instruments of distant times is a little too important to find it excellent.

Wobbler's keyboardist extraordinaire has returned with a stellar follow up to his 2023 ' Fire Fortellinger' opening solo salvo, a sparkling offering with the title 'Gamle Mester', named after a legendary oak tree, that provides wisdom, endurance, and timeless reflection. Needless to reiterate that if one enjoys symphonic keyboard displays, this certainly is among 'the Six Wives of Henry VIII' of the 21st century. Similarly to the Caped Yes man, Lars Fredrik whips out a stunning arsenal of assorted ivoried instruments, such as the Mellotron M400, Mini-Moog Model D, Chamberlin M1, Hammond C3, Rhodes Mk II, Hohner Clavinet D6, ARP Axxe & Pro Soloist, Solina String Ensemble, Roland Vp-330, Sequential Circuits Prophet-3, KORG VC-10 , Wurlitzer 200, Yamaha CP70B, Spinet , upright Piano and whatever a Marxophone and Tremoloa are (fretless zithers) ! Vintage instrumental progressive rock at its finest. Nikolai Haengsle mans the bass guitar parts , Ketil Einarsen does his flute and recorder magic, while Froislie takes care of the percussive side.

From the initial Rickenbacker 4003-led whirlwind 'Demring' onto the final hurrah on Skumring', the master takes the listener on a retro journey that maintains a strong classical pace, thrilling sequences that span a vast cross-section of what prog has the finest to offer. Within the mixture, there are symphonic elements blending with Norse folk tendencies, at times baroque and medieval, as well as a hint of gothic, with a wide variety of solo spots to show off his impressive technical chops, though it must be said that each note has a purpose and never comes across as flaunting any ego. The man is just a plain wizard.

Every second ticking by is pure joy, exultation, passion, as well as restraint and even defiance, a creative musician who senses all the infinite possibilities of sound and space, just like the grand masters of the past. His piano work is exemplary throughout the album, a sure sign of musical quality, in my book. 'Jakten Pa det Kalydonske Villsin' even dares to incorporate his echo-laden Norwegian voice, amid an endless forest of stop and start contrasts, icy mellotron gales, synthesizers pellets of snow and diving into deep fjords of mesmerizing intensity. The raging Hammond is, as per norm, a fabulous adornment that takes no prisoners. Contrast that with pools of ambient imagery, before plunging back into the Wotan funeral pyre, as the distant Drakkar burns in abject respect. A fascinating expos' of retro prog.

The title track serves to keep the bar not only high but even owning it up by rising to the challenge. It's immediately catchy and addictive, plowing head down into battle like a Viking rampage, an almost early ELP instrumental feel that exudes an 'organic' charm. The entire mid-section comes across as a keyboard buffet, each spotlight shining on a specific mood, the bellicose bass huffing and puffing like a muskox gone berserk. Yes, it's definitely sounds like an outright classic piece of music, both challenging and diverse.

A rest period , perhaps? Definitely not, as 'Medusas Flate' launches into another extensive showcase of compositional adventure, the focus now on the mighty Mellotron to direct the mood into another vocalized piece with that low-key voice dancing along with the clavinet , a tingling procession of sound that shows no deference to easy listening. Highly detailed, constantly effervescing, swooning, veering and pausing, there is nothing predictable here. I heard moments of the style expressed by the late Rick van der Linden of Ekseption and Trace fame, as there is a virtuous tone to the arrangement.

The epic 12 minutes and change on 'De Tre Gratier' is surely my highlight track, as the spinet and the fretless zithers now play an active Middle Ages role in setting off ancient images of torch-lit procession in the taciturn darkness of an Arctic winter. The paralleling of voice and organ is spellbinding, the spectral quality of the atmosphere beguiling and you just want to close your eyes and follow blindly the sonic adventure, wherever it may lead. The synthesized mid- section is a prime example of tactile restraint, a weaving of sound that can only intoxicate even the most hardened prog veteran. Froislie builds up the majestic melody that was there all along, in the shadows of it, just waiting for the moment to appear. I am a total sucker for this style; I could wrap myself in this headspace for days on end. One of the finest 2025 epics, a certain consideration for podium space. 'Skumring' is the fitting symphonic finale, all pomp and circumstance.

While Wobbler certainly has well deserved merits and is one of the vanguards of modern prog, I have a much stronger affinity for this kind of expertise, as it checks all the boxes, every single one of many. 'Lang levetid' (long life) Lars Erik! The easiest 5 acorns ever.

Well, a new Lars Fredrik Frøislie record. Fire fortellinger from 2023 was really good, so to have a new record from this proggy keyboardist is certainly a treat.

To catch up on speed, Lars Fredrik Frøislie is a Norwegian prog rock keyboardist most known for his work with Wobbler, and Tusmørke. He had started his solo career in 2023 with his debut of Fire fortellinger, a record I very much enjoyed.

In a way, like a lot of sophomore albums, this one keeps up with the styles that its former had. Very organ heavy retro prog is not quite new for Lars' sound profile, but even if it is not new, he does do a good job at making each song good in their own right. Tracks like Demring, and De Tre Gratier carry on the kinds of sounds you'd expect from the Hinterland side of Wobbler's sound, mixed with a sound that draws from acts like Anglagard and Phideaux.

The Anglagard influence surprisingly feels a lot more prevalent here I think. It's very clear from Wobbler's earlier records that they were inspired by their older Swedish cousins in the retro prog sphere, but I think Lars bumps that influence greatly on this record. And I gotta say, I dig it. I am already an Anglagard sucker, so Gamle Mester having a much more 'gothic prog' influence does make me very happy.

I can also tell that Lars' playing has improved. Probably not greatly, after all he has been top of the line since, like, From Silence to Somewhere, but sometimes on this record I could say he might put even Rick Wakeman to shame, and I think that alone is pretty impressive.

However, I do agree with some people that say that the album's bigger shortcomings is that it's kind of just the same ol' stuff that Lars has been making for like the past 20 years.

I am sort of in the boat with people who are getting a bit tired of retro prog. I love retro prog as much as the next guy, in fact a lot of records I love are retro prog, but I do agree that it's certainly not as redefining as it once was. I am not 100% in the boat mind you. My toes are in the water, and I am ready to slide off the edge back into the seas below if I so choose. But at the same time, I do wish this album did a bit more for the retro prog formula.

A lot of retro prog groups and artists like Lars usually, if not, always go for the organ heavy symphonic prog style. Makes sense, because that was the most prevalent style of prog rock in the 70s. But it's ALWAYS symphonic prog, so after a while the wow factor just kind of disappears and things become predictable..

I think the only band that has stood the test of time in the retro prog format, at least in the long run, is Beardfish, and that is mostly because they try to do more than just symphonic prog. In a way, now, I want more acts to be like Beardfish in the regards of making music that sounds like old school progressive rock.

Sure, symphonic prog may have been the standard in the 70s, but there were still other styles in the genre to explore from while still keeping in the retro prog characteristics. Perhaps?and this is just a suggestion?Lars should invest in other styles of prog rock, or even rock in general. Imagine an heavy, occultish rock album from him, or perhaps him dabbling into synth heavy neo-prog? Heck maybe it doesn't need to be rock, maybe he could try out classical production. He clearly has the power to make some real impressive scores.

Aside from my rambles of retro prog nowadays, I still really enjoyed this record for what it's worth. It may not have the same wowness that its previous incarnation had, but I still think it's worth your time.

Best tracks: Demring, Jakten På Det Kalydonske Villsvin, De Tre Gratier

Worst track: Skumring