Hinterland [CD]

It is with great trepidation that I explore the new symphonic progressive bands. Ever since the release of the two excellent albums by the now defunct Anglagard in the early 1990s, the new symphonic "progressive" scene has been saturated with music that...well, let me put it this way - I just do not care for much of it. Fortunately, Norwegian prog act Wobbler put out Hinterland (2005), which has a signature sound even while borrowing heavily from the 1970s prog acts (ELP, Genesis, King Crimson, a smidge of Gentle Giant and even some of the Italian bands). In combination with a little rock and Norwegian folk music, their brand of modern progressive rock shows that they are willing to work with both current styles and traditional ones - just like much of the best 1970s progressive rock.

The lineup on this album includes Lars Fredrik Froislie (Hammond C3, mellotron, mini-moog, ARP Axxe, Clavinet, ARP Pro soloist, grand piano, harpsichord, glockenspiel, Solina string ensemble, and Logan string melody), Martin Nordrum Kneppen (drums and percussion), Kristian Karl Hultgen (Rickenbacker bass guitar and saxophones), Morten Andreas Eriksen (electric and acoustic guitars) and Tony Johannessen (lead vocals). These guys are simply fantastic players. Dense ensemble work, virtuoso keyboard solos, hairpin metric shifts, and strange root movements are all over the place which makes this music incredibly interesting. I especially appreciate their exclusively analog approach, which lends a very organic and "real" feel to the music. The vocals (in English) are great and sound warm and inviting - like much of this album actually. The flute work (by Ketil Einarsen) is very nice and adds a great deal to the music. The contributions by Ulrik Larsen (Theorbe and Baroque guitar), Paulina Fred (recorder) and Aage Schou (percussion) are also impressive.

The four tracks on the album range in length from 0:35 to the massive 27:47 Hinterland suite. Rubato Industry and Clair Obscur clock in at 12:44 and 15:37 respectively. Stylistically, this is one of the finest symphonic prog albums that I have heard since Anglagard's Epilog (1994) - I especially like the dark textures, mellotron and synthesizer work. The guys in the band are very clever in how they borrow from various sources; Keith Emerson's sophisticated harmonic syntax, the brooding gloom of certain modern rock bands, the sweeping emotion of early King Crimson, folk music - it all comes together in a sound that is somehow familiar, yet that is very original sounding. Of course, like every prog fan, I was dazzled by their technique, but perhaps even moreso by their emotional sophistication - there are some wonderful moments on here that conjure up the ghosts of old PFM and King Crimson albums. The lyrics to the songs are quite good too - very evocative, with loads of pastoral references that are tempered by a modern "angst".

Like Anglagard, Wobbler strictly avoids American stadium rock, heavy metal and radio-friendly pop; musical styles that are favored by the current crop of neo/symphonic prog bands. However, while these guys are traversing similar musical terrain that Anglagard covered a while back, Wobbler employs a richer variety of tone colors and the keyboard instruments play a greater role. In sum, the Wobbler soundscape is not quite as stark as the Anglagard soundscape.

The sound quality on this Laser's edge release is stellar and there is great separation of individual instruments with crisp highs and deep bass (the Rickenbacker bass sounds fantastic).

Well there you have it - along with modern groups like Anglagard, Deus ex Machina and Thinking Plague, Wobbler has released another gem in the current prog scene. My only hope is that they do not disband - what a pity that would be. Highly recommended along with Anglagard's Epilog (1994) to those folks looking for decent music in the current symphonic prog scene.

And that's no overexaggeration either! After Änglagård broke up following the release of Epilog and their performance at Progfest '94, there was this hole left off by them. So people were looking to Sinkadus, another Swedish band, but they too only managed two albums, Aurum Nostram (1997) and Cirkus (1999) before seeming to go quiet. Unfortunately, for many people, Sinkadus failed to live up to expectations, although in defense, it might be a bit too much to ask of another band to reach the heights of the mighty Änglagård. My only real complaint about Sinkadus is they lack edge.

Then comes Änglagård's reunion (this time without Tord Lindman) in 2002, and their appearance at Nearfest 2003. People was starting to have hope, but then things all went silent again for this group.

Now comes Wobbler, who hails from Hønefoss, Norway, who formed in 1999. Their keyboardist, Lars Fredrik Frøislie had played on White Willow's most recent release. Wobbler first posted some demo MP3s on their website, and in 2004-2005, they got to work on their first actual album, Hinterland, but even before the album even came out, they got invited to Nearfeat 2005, the only band ever invited solely on the strength of two MP3s! And rightfully so, as Hinterland certainly lives up to those expectations. Unfortunately those MP3s did not appear on this CD, after all, it wouldn't all fit if they did, and included the four cuts that are on the disc. This CD got released on the Laser's Edge label, a mail order company that's also a record label, in which White Willow recorded for (not to mention this label reissued lots of great prog).

The group consisted of keyboardist Lars Fredrik Frøislie, drummer Martin Nordrum Kneppen, bassist Kristian Karl Hultgren, guitarist Morton Andreas Eriksen, and vocalist Tony Johannessen. I really think Wobbler is the next best thing to Änglagård, including a similar "no keyboards after 1975" policy. They definately blow Sinkadus right out of the water! This approach is totally retro, so if you're fearing another Marillion, relax, nothing like that here! Frøislie simply lays it thick with Mellotron, Hammond organ and even Mini Moog, he's credited to a ton of other keyboards, but he don't use them as frequently, while the whole band takes a similar approach to Änglagård: play one thing, move on to the next, return to a theme occasionally to let you know, and so on. There are some rather loud and aggressive passages, and gentler, more laidback passages. "Serenade For 1652" is a very short Mellotron introduction, consisting of tron cellos. The title track is at its lengthiest, at over 27 minutes, you might think the band would totally outstay its welcome way before its over, but not at all: it's top-quality prog all the way! I also notices plenty of difference with Wobbler from Änglagård, for one thing, I hear stronger ELP and Gentle Giant influences at times, they also play a Mini Moog, while Änglagård weren't all that big on synths, not to mention the drummer has his own style, rather than imitating Mattias Olsson. Also it seems that at times, Wobbler can jam, there are some nice, short jams found from time to time. And most of all: Wobbler sings in English (sometimes with vocal harmonies), which Änglagård did not. Tony Johannessen does often have a rather dramatic voice, which needs getting a little used to. The next two cuts, "Rubato Industry" and "Clair Obscur" continues in this same vein, I really love this approach, because you'll never know what you'll expect next! "Clair Obscur" ends with this mellow piano that's not unlike how Änglagård's Epilog ended. In fact, the beginning and end of Hinterland reminds me of how Epilog begins and ends (short beginning that starts with Mellotron, ending that ends with somber piano).

Wobbler isn't free of criticisms. Many criticized the band of not really offering anything new, citing bands like Änglagård, Landberk, Sinkadus, Anekdoten, White Willow, plus any given '70s band like King Crimson, Genesis, Yes, Gentle Giant, etc. as having done this kind of stuff before. Even I can see the band wears their influences on their sleeves, and it's true, I can't help but be reminded of any given band from passage to passage. But I thought the music is so good, I, myself, have actually little to complain at all, definately one of the finest prog albums I've ever heard from the New Millenium!

I also like the band's image, the photo shows the band with long hair and beards, they certainly wouldn't look out of place 30 years ago when prog rock was king. Many other newer prog bands I'm used to seeing members with shaved heads (like Rad from Ozric Tentacles), or that "alternative rock" look (members of Porcupine Tree, Steven Wilson aside), so it's nice to see a band that not only has a sound that harkens back to the '70s, but also an appearance too!

I really think this is one of the finest prog rock CDs I bought in a long time, truly a must-have, in my opinion!

This is a VERY pleasant listen. In the vein of King Crimson or Anglagard. The band went to great lengths to recreate a very 70's prog sound, having read their bio on The Laser's Edge site (the label this was released on.) Using instruments from that era (God, has it been that long?), they manage to achieve this endeavor AND create some top- notch music to boot. All the tracks are lengthy, except for the short intro at the beginning, but by NO means boring. Quite mellow, not any bombastic guitar lines, but very enjoyable. Good bedtime music, sort- of like Close To The Edge (Yes.) Not alot of vocals, but the ones included are nice, not at all annoying. The more I listen to this, the more I realise that this is one of my favorite "quiet" progressive recordings. Would definitely purchase more music from this band. Oh yeah.... check out the MELLOTRON swell in the middle of track 2, "Hinterland." Does that sound identical to the awesome one on King Crimson's "Epitaph" or what???