1. Lucid (1:40)
2. La Bealtaine (7:52)
3. In Orbit (12:30)
4. This Past Presence (6:14)
5. A Faerie’s Play (5:19)
6. The River (10:04)
7. Lucid Dreams (2:19)
Morten Andreas Eriksen – guitars
Lars Fredrik Frøislie- keyboards, marxophone, vocals
Kristian Karl Hultgren – bass, saxophone, glockenspiel
Martin Nordrum Kneppen – drums, percussion
Andreas Wettergreen Stromman Prestmo – vocals
Ketil Vestrum Einarsen – flute
Hanne Rekdal – bassoon
This is undoubtedly one of the most difficult reviews I have written in a long time (if not the most difficult), and one that may turn out to be quite controversial. In order to convey my opinion effectively, I will have to make a clear distinction between the actual quality of the music and any considerations relating to originality of content.
Before someone indicts me of being one of those snobs that turn up their noses at anything that might remind them of bygone times, I do enjoy a lot of so-called “retro prog”, and Wobbler’s Afterglow was one of my favourite albums for 2009. Moreover, I am quite aware that the “retro” phenomenon is not only a prerogative of symphonic prog: a band choosing to imitate Magma or Univers Zéro is no less “retro” than one imitating Yes or Genesis. Like it or not, originality these days is rather thin on the ground, and throughout the 40+ years of prog’s existence as a musical genre there have been countless instances of bands shamelessly cloning more successful and influential acts (one name for all: Starcastle). In more recent years the number of tribute bands has been steadily growing, attracting relatively large audiences (often larger than those commanded by bands or artists that play their own original material). While fans of the more cutting-edge varieties of progressive rock may throw around the “retro” label with a sort of contempt, others wear it as a badge of honour, further widening the gap within the “prog community”.
First emerged on the prog scene in 2005 with their debut Hinterland, Wobbler – led by multi-instrumentalist and vintage keyboard collector Lars Fredrik Frøislie (also the mind behind experimental metal act In Lingua Mortua) – quickly established themselves as the darlings of the retro-oriented crowd, especially those who had been mourning the early demise of Änglagård. Even though a sizable portion of the current prog scene consists of acts that might be tagged as “retro”, Wobbler have taken the concept a step further, down to their refusal to use MIDI technology or any post-1975 instruments. Both Hinterland and its follow-up Afterglow (2009) had been based on material originally composed and recorded in demo form immediately after the band’s formation in 1999; Rites at Dawn, on the other hand, comprises entirely new material, the first original music by the band in almost 10 years.
Rites at Dawn is an album of pristine perfection. With its gorgeous, clean-lined artwork (surprisingly modern for a band that has never hidden its worship of all things Seventies) and thorough liner notes, listing the equipment used in loving detail, the centrefold photo depicting them in a rustic period setting reminiscent of Songs from the Wood-era Jethro Tull, it is an unashamed paean to the golden age of prog, tailor-made to send traditionalists into fits of delight, or else to be dismissed by forward-thinkers as a mere nostalgia trip. The truth, as is often the case in life, lies somewhere in between. I believe that the fellow reviewer who compared Wobbler’s music to neoclassical art hit the nail over the head, since Rites at Dawn possesses the smooth, polished beauty of a Canova statue. As such, it has raised the bar for “retro-prog” to almost unattainable levels.
Indeed, speaking in strictly objective terms, the music on Rites at Dawn is beautiful, intricate and flawlessly performed, in spite of the slightly disturbing feeling of déjà vu that grips the listener as soon as the vocals in “La Bealtaine” kick in. Drenched in gorgeous Mellotron, fuelled by the fat, trebly sound of a vintage Rickenbacker bass, embellished by layers of keyboards and soothing vocal harmonies, the whole album is a clear homage to Yes circa Fragile and Close to the Edge, even as regards the lyrical matter, based upon pagan rituals and nature worship. While both their previous efforts showed the imprint of Gentle Giant and Gryphon, as well as legendary early Nineties acts such as Änglagård and Anekdoten, Rites at Dawn sound less “Scandinavian” and definitely more upbeat. The band’s new singer, Andreas Wettergreen Stromman Prestmo, gets a lot of room to flex his impressive, Jon Anderson-like pipes, as all but the two tracks that bookend the album, “Lucid” and “Lucid Dreams”, feature vocals (unlike the band’s previous albums, which were mostly instrumental). The vocal parts are balanced by the magnificent instrumental interplay, chock full of head-spinning tempo changes, scintillating solo spots and moments of atmospheric, ethereal beauty, enhanced by touches of flute and glockenspiel, with the distinctive drone of the bassoon lending further depth to some of the passages. Clocking in at 45 minutes, the album is longer than Afterglow and shorter than Hinterland, with only two tracks, “In Orbit” and “The River”, running over 10 minutes.
An album of sterling quality from a formal point of view, Rites at Dawn is probably the closest any band has come in recent years to recreating the original sound of the Seventies (though, of course, with modern production values). That said, its often uncomfortably derivative nature leads me to adopt a somewhat schizophrenic attitude towards it. While I do like the music a lot, and will be probably be listening to the album for my personal pleasure in the future, I cannot help questioning the point of reproducing the sounds of a bygone age down to the last detail – as well as wondering if such a move is going to benefit the prog scene in the long run. However, it is undeniable that there is an audience for albums like Rites at Dawn among those listeners who thrive upon nostalgia. Highly recommended to fans of vintage symphonic prog, it is probably best avoided by anyone who expects prog to be actually progressive.