Customer Reviews

Hinterland

5 star:		(4)
4 star:		(3)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

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???

Within the discouraging poverty of current musical trends Wobbler emerged in 2005 with this debut album of spectacular progessive rock. Avoiding commercial tendencies and relying instead on superb musicianship and songcraft this album can in many ways be seen as a throwback to the days of prog rock triumph. The opening notes of the title song 'Hinterland' appear to be an allusion or homage to 'Tarkus' by ELP but turn into a melodic landscape where lush instrumental propulsion and complication reward concentrated attention. A coordinated tapestry of rich keybords, synthesizers, and mellotron are propelled though many tricky musical designs which play out the epic sweep and involvment of these long compositions. Beautiful guitar and woodwind playing(mostly flute) reflects a strong melodic pulse but I'm probably more impressed with some of the active bass playing and the rich series of tones and changing spectrum of sound textures displayed throughout this album. The European and folk music influences are obvious since this band originated from Norway, but a large stylistic diversity is smoothly coordinated into a basically swiftly changing and rocking format. This is not a work that will reveal itself initially, but with a scope and ambition this large, the music will unfold in many accumulating layers of realization and awareness of musical depth. A highly rewarding progressive album!

It is good don't get me wrong, but the pre-hype lead me into expecting much more. From the remnants of the excellant White Willow, Wobbler (whoever thought of that moniker should hang his or her head in shame-the worse name since well, Toad the wet sprocket) have all the right ingrediants lashings of mellotron, thirty minute plus epics (only four tracks here) intricate time signatures and impassioned vocals (unfortunately he isn't used enough) and as per usual with Scandinavian bands the occasional flute solo's (excellant) but i found that some of it did meander and there is very little soloing apart from the aforementioned flute which means that it is one of those albums that will improve only after many plays. Which is a good thing in some ways, but i like my prog a bit more immediate. White Willow fortunately knew how to reign in the ideas that makes there albums so essential. Still it has a wonderful sleeve and the prodiction is sublime. I would highly recommend. Just give the guitarists a look in next time chaps!

About a minute and a half into the title track you're going to think you're listening to a long lost Yes album. Wobbler sounds like they're from 1972, which can be credited to a reliance on analog keyboards and a blend of acoustic and electric instuments. But while they clearly emulate classic prog, they are not simply chasing the ghost of 'Close to the Edge'. Their sound is old; their music is not. They're a solid, talented band that have succeeded in creating something fairly fresh and enjoyable. And while there's nothing here to completely blow your mind, there is something thoroughly heartwarming and deeply satisfying about this album.

Pretty much forgettable/unmemorable attempt at the classic prog rock sound. The title track which clocks in at almost 28 minutes, I believe, is about 26 or 27 minutes too long, and the vocals - well lets just say they don't add anything and leave it at that. For the entire CD, little or no imagination is demonstrated whatsoever - the songs are basically just boring, pretty lethargic sounding - to my ear anyway. I thought maybe I was just missing something so I gave the CD two or three listens, but still nothing. Hopefully their subsequent two releases are improved over this first one (but I'll never know as I have no intent on purchasing them after hearing this first one).

Wobbler is a progressive rock band from Norway who specialize in long epic 70's style prog. There are only 4 tracks on this disc that clocks in at well over an hour. The band remind me a lot of Anglagard in many ways. The compositions are lush, long and intricate. They take the influence of 70's era progressive rock updated for a modern era. They pretty much stick to the symphonic elements without any metal leanings or pop song craft. This may or may not be a good thing depending on your perspective. This album got a lot of hype in the progressive rock press when it came out and although I think it is good, it does not quite live up to what I was expecting. This is one of those albums that some people will love and some find rather ho hum. I lie somewhere in the middle.

Mildly noticeable modern progressive rock release humbly tries to bring the dated genre up to speed with some more current influence, but still bites off more then they can chew. I particularly like the final track, though the centerpiece of a near half hour track tends to drag with insignificance.

Wake me up when it's over, I should say!!
Ok, such retro-prog (old King Crimson and a bit Gentle Giant-like), in the manner of the dark progressive bands from Scandinavia (do you remember White Willow, Anglagard or bands like these ones?), is good from the point of view their skill, but this kind of symphonic mood is not able to be truly desirable in our times!! The title track is too much long (27 minutes long!) and it's not equal to "Supper's Ready" from Genesis for instance...that is I'm bored when I listen to a typical Mellotron or a synthesizer according to such a Keith Emerson's standard mood, in a sort of never-ending emulation, especially all along their main suite; instead I'm satisfied when a find a great versatility (here lacking so much), for example within the well produced and arranged albums belonging to a more versatile ensemble like After Crying (also paying a tribute to the old "dinosaurs" of the seventies, but keeping their unique style anyway)..don't get me wrong, I don't hate the retro-prog style, cause it all depends on the cleverness of the members! The intelligent emulation or the personal music skill are not enough- in my opinion- to guarantee the final result; in fact such features should be enriched by means of a "secure" creativity, while "Wobbler" lack here, in comparison to my personal exigencies as a musician. But if you think of the retro-style by the melodic "Renaissance" or Anglagard (these latter,along with Sinkadus closer to Wobbler, you can understand what I mean...) and- moreover- regarding Frank Zappa and Gerswhin like immortal examples of the symphonic music without a time, can you find this important characteristic inside the album "Hinterland"? I don't think so, but make your own choice as usual- once again!!

You could also add an half star, if you're completely into the retro-style without creativity!