MINDSCAPES

Fourth album from this amazing Norwegian band, astonishing because all of their recordings have garnered very scores from prog critics, as well as accolades from fans across the world. Ever since that 2010 "To Be Continued ?' debut, they have followed their promise by 'continuing' to dish out a delightful, wholly original sounding heavy prog, led by the terrific keyboardist Jean Robert Viita, guitarist Erik Borgen's immediately recognizable timbre on lead vocals, the bass rumble of Arnfinn Isaksen, Stig Andre Clason on guitars and the meandering magic of multi- instrumentalist Morten Clason's flute and sax. These five have been onboard since day 1, creating a highly homogenous and well-oiled outfit that has carved out quite a career in Progland. Sadly, the original drummer Sam Arne Noland (RIP) passed way after recording the third "Tribus" album. New kit meister Kristoffer Utby has been recruited from fellow Norse band Infringement, which also features Stig Andre Clason, and is causing quite a stir as well.

While only 40 minutes long, this release does kick off with a brazen epic track, the nearly 23 minute "Fear" but no need to call in the Reaper, the piece is a slab of genius that should make many prog epic-length lists for 2024! Shooting off like a searing comet, the organ, synth and guitars meld into a hot cauldron of sound, navigating all kinds of time signatures, tempo changes from booming to benevolent, until the bass and piano unite in a common cause, carving out a lovely melody that shines light on Erik's soothing voice. He is in another league altogether, not the usual growly Norse voice but a suave crooner, not closer to the great Morten Harket, but seems to fit the music perfectly, exerting solid control in hitting the higher notes and adding a touch of tremolo for effect. The raging organ abducts the arrangement, soon incorporating a magical flute, as well as spirited synthesizer flutter, making the entire bloom with anticipation. When the scratchy e-guitar ogles the flute, there is an obvious Tull feel, overtaken by a thumping chorus one could feel coming from afar, choppy organ emitting a Uriah Heep feel, 'with your back against the wall', repeated for good measure by adding harmony vocals to the mix. An open corridor beckons the road ahead, as the piano and flute reestablish their tender tussle, a clever set of transitions that keep building into a sublime groove, suddenly elevated to choir-level passion. Intensely enjoyable music, this! Utby in particular knocks his skins with fortitude. Clearly the piano is the conducting mechanism in the entire composition, guiding the ultra-romantic guitar exercise from Stig Clason, while the other Clason's flute whispers sweet nothings, much to our delight. Eloquent and sensitive, the finale sprinkles a sense of having overcome the anxiety successfully, the saxophone oozing a slick Andy Mackay like temper (Song for Europe, comes to mind), a sublime number that will offer much joy to the prog listener.

Change of pace on "Calton Hill", a rousing anthem-like comp, that is nothing quite as elaborate as the previous monument, more a straightforward rocker that should go down a storm in a live setting, once again crowned by some tasty vocals and expert keyboard, guitars and rhythm section work. The extended soloing section goes from brass to keyboards and then to electric guitar effortlessly consolidation the atmosphere. Redolent power ballad is to be found on "I Still Care", another hymn with powerful vocals, delirious flute meanderings that counterbalances well with the rollicking organ and guitar sections. The backing vocals exert a celestial feel to the proceedings, with a tingling piano finale. Getting hot and heavy on the crunching "Nothing in Return ", a rousing steamroller with a bashing drum assault, gritty guitar riffs, and grimy organ waves to keep the bouncing boys and girls happy, the track sliced wide open with a surgically sharp synthesizer razor blade, ready for a Celtic-tinged ramble deep into the enchanted forest where the flute rules supreme.

The Windmill was never a band conceived to boldly conquer new territories in search of advanced civilizations, but rather an entertainment-oriented crew that plays their own music for just that one reason, having a well-defined style that never, ever disappoints in terms of enjoyment. That explains their high ratings as well as may fans out there. If you enjoy Flamborough Head, Stuckfish, Realisea, Lesoir, Believe, Satellite etc?the Windmill should move your sails perfectly.

4.5 brain realms

Norwegian proggers The Windmill are back with their fourth album. The line-up on their 2010 included Erik Borgen (lead & backing vocals, guitars), Jean Robert Viita (keyboards, lead & backing vocals), Morten Clason (sax, flutes, keyboards, guitars, lead & backing vocals), Arnfinn Isaksen (bass) while both Sam Arne Nøland (drums, percussion), and Stig André Clason joined in time for the second album. It was the same line-up on the third and would surely have been the same on this one, but sadly in the spring of 2018, drummer Nøland was diagnosed with cancer, and he died later that year. The band looked to Kristoffer Utby, who plays with Stig André Clason in Infringement to be the replacement, but although he has played on this release he has now decided to concentrate on that band instead and he in turn has been replaced by Nils Harsem.

Any band who kicks off an album with a 22-minute-long song are setting out their stall from the beginning, saying, "we know we will be roasted by the mainstream rock press but that is not who this is aimed at", which is exactly what they did last time as well. I love the approach, and very quickly am deep inside what is a very enjoyable Neo prog album indeed. They are listed on PA as Heavy Prog, and I fully understand why that is the case as they do crunch guitars, but this is one of those bands who would happily sit in more than one sub-genre, and I am sure the HP team were very pleased indeed to grab them first. Mind you, there are elements when these guys are overtly Crossover so probably it is best to describe them as modern commercial sounding progressive rock and leave it there.

They are not always heavy, there is a lot of light and shade on here, with plenty of acoustic guitars and piano, and one of the joys is not knowing what is coming next. With plenty of singers there are loads of harmonies and polish, and I feel there are more influences from The Flower Kings readily apparent on this release, and a little less Wakeman and Jadis. The flute sounds do make one think of Jethro Tull, but in a modern context and not Seventies (and to be honest, just the use of a flute in prog often makes one think of Tull given Anderson is so ubiquitous).

I have still yet to hear the debut, but I have thoroughly enjoyed the last two albums and yet again we find the Norwegians are taking loads of influences and melding the into something which is incredibly polished and enjoyable on the first time of playing and repeated listenings just makes it better. It has been six years since the last release, but at long last The Windmill are back with yet another delight.