Thursday, April 10, 2014

Froskull "Froskull"

Country: USA
Sub GenreProgressive Rock
Release dateApril 10, 2014
  1. A Thousand Years - 4:00
  2. Wait - 3:43
  3. Alabaster - 3:58
  4. Should Have Known  - 2:52
  5. Bardo 1 - 1:38
  6. The Road to Sto-Vo-Kor - 3:08
  7. Bardo 2 - 1:47
  8. Report from Ganymede - 4:00
  9. Paramatman - 3:59
  10. Bardo 3 - 2:31
  11. Perihelion - 4:00
  12. Bardo 4 - 1:35
Stephen Rockford Hammond - Vocals, Guitars
Brett Hammond - Guitars, Vocals
Jason Schond - Bass
Adam Dennis - Drums

Making profitable use of the highly inclusive possibilities of the Progressive Rock genre, Froskull may combine Space-Rock, Indie Rock, Progressive Metal, and Noisy Electronic Rock with a broader scope of musical influences, mixing them with inventiveness, and deserving no other tag than that of Crossover-Prog. “Froskull” features 12 tracks. A number of songs represent the core of Froskull’s style - one that is very original, for it combines the sonority of “Yes”, with powerful twin guitars and vigorous drumming delivered with the aggressiveness and complexity of Progressive Metal & Metal-Fusion acts (like “Vai”, “Dream Theater”, “Liquid Tension”). Those songs are “A Thousand Years” (4:00) (which has initial vibraphones that also recall “Tortoise”); the instrumental “Alabaster” (3:58) (which irradiates groovy Hindu ragas from bass and guitars, reminiscent of “Yes” album “Close to the Edge” – but more muscular); “Report from Ganymede” (4:00) (which is Space-Symphonic, having a stronger influence from “Rush”, and being crowned with twin guitars solo); and “Perihelion” (4:00) (which has a frantic beginning, a keyboards swing that vaguely recall “Kansas”, and guitars that recall “King Crimson”, “Vai”, and “Steve Howe”). Less “Yes-Metal”, but still complex songs under a Crossover point of view are: “Wait” (3:43) (which combines a mattress of acoustic guitars that are reminiscent of Nashville’s musical roots with some pianos and electronic ambience that recall “Tortoise”, all glued with heavy guitar riffs); “The Road to Sto-Vo-Kor” (3:08) (a weird Space-Prog-Metal); and “Paramatman” (3:59) (an Indie-Rock ballad backed with noisy electronic effects, on which Brett takes the vocal lead, guiding the song to a progressive labyrinth of guitars and keyboards. Finally, “Should Have Known” (2:52) is an Indie-Rock ballad that appeals to an ample audience. The remaining tracks are short interludes, numbered as “Bardo 1” (1:38), “Bardo 2” (1:47), “Bardo 3” (2:31), and “Bardo 4” (1:35) – which are all experiments with Noisy & Cosmic Electronica, mostly influenced by “King Crimson” and “Tortoise”; the most interesting being “Bardo 3” (with gloomy chanting and gothic keyboards). Although the weak recording conditions may have hindered the band to achieve better sonic results, Froskull came up with a very solid debut album that reveals a great musical potential, bringing within an original stylistic proposal that I shall call “Yes-Metal” 
(Marcelo Trotta at progressiverockbr.com)

A Thousand Years

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