A dystopian reality where the individual is suppressed and controlled; and where actions are constantly under observation… A lone protagonist discovering a dissenting voice calling itself Livewire via an old radio… dreams of escaping an unsatisfactory existence and tracing the source of the broadcasts…
Not a revolutionary narrative framework, perhaps, but Frost* mainman Jem Godfrey can be forgiven for any imagined similarities between 1984 and the concept that underpins his band’s fifth album, Life In The Wires.
Not everything is clear-cut and predictable about the world of central character Naio and his story. Godfrey weaves in threads such as social media manipulation and flash-mob mentality, which helps to provide a contemporary angle on proceedings. And anyway, a Frost* double concept album – who could possibly quibble?
After the minor experimentation with personnel for their previous album, 2021’s Day And Age, Godfrey has reverted to what he refers to as the ‘classic’ line-up, with the ever-in-demand John Mitchell on guitars, Nathan King on bass and über-drummer Craig Blundell back behind the kit. Godfrey utilises his usual range of very modern keyboard sounds and tackles pretty much all the lead vocals himself.
It’s sometimes challenging, inscrutable and just a little overwhelming
If all he had released was the combined 20 minutes of the two-part title track, the fans would lose their minds, so rich in the band’s DNA is it. It delivers the sort of variety, feel and stylistic jump-turns found in previous long-form songs like Milliontown and The Dividing Line. But there’s so much more.
From the gentle curtain-raiser Skywaving through to the contemplative, majestic swell of denouement Starting Fires, the album mines up-tempo insistency in the pulsing Evaporator, gives a characteristic Frost* spin to prog-metal with Idiot Box and somehow manages to create an amalgam of dirty heavy fusion, fist-pumping choruses and hard-edged dance grooves in Propergander.
Godfrey demonstrates his talent at pulling on heartstrings with beautiful tearjerkers like Absent Friends and Sign Of Life; and, having suspended them for the last album, keyboard and guitar solos are back in abundance.
Life In The Wires is, at once, elegant, complex, multilayered, brilliantly conceived and masterfully performed. It’s also sometimes challenging, inscrutable and just a little overwhelming. Musically it touches on Frost* characteristics from their four previous albums and yet seems to exist very much in its own space. Quite marvellous.
Life In The Wires is on sale now via InsideOut Music.
