Last year I finally found Wobbler. I knew of them, but had not listened to them or reviewed any of their work. That introduction, came through a review of their latest album, Dwellers of the Deep. It was such a moving experience hearing that album, that it made my top ten list for the year. It also made me an instant fan of the band; who enjoy a huge fanbase globally.
After reviewing Dwellers of the Deep, I immediately wanted more. All I could find was From Silence to Somewhere. I bought it immediately and have enjoyed it ever since. But then, I wanted to hear the entire collection. But the first three albums were no longer available. Until soon! Martin Kvan of Karisma Records, will graciously release the first three Wobbler albums, on January 28th, 2022! The waiting is almost over for fans of Wobbler.
After listening to these first three albums, Hinterland, (2005), Afterglow, (2009), and Rites of Dawn, (2011), for days…and nights, I know recent fans or fans of the past, will be happy to know that these new releases sound magnificent!
Wobbler has primarily a Yes sound now, pulling from their last two albums. There are signs of that sound in these first three albums, especially the heavy bass sound of Chris Squire, but on these earlier albums you can hear more influence from ELP/King Crimson. On two of the first three albums, Tony Johannessen, was the lead vocalist. Tony has a deeper, Greg Lake sounding voice. Andreas Wettergreen Strømman Prestmo, who took over on Rites of Dawn, sounds more like Jon Anderson of Yes. The music Wobbler makes has also taken a different turn from the ELP or King Krimson sound of the first two albums, projecting more towards Yes, in the last three.
Wobbler was formed near Hønefoss, Norway, in early 1999. The current band members include: Lars Fredrik Frøislie, on keyboards, and backing vocals; Martin Nordrum Kneppen, on drums, percussion, and recorder; Andreas Wettergreen Strømman Prestmo, on lead vocals, guitar, glockenspiel, and percussion; Geir Marius Bergom Halleland, on lead guitar, and backing vocals; and Kristian Karl Hultgren, on bass, bass clarinet, and bass recorder.
For the first three albums, Morten Andreas Eriksen, was the lead guitarist, mandolin, tambourine, and kazoo player; and Tony Johannessen, was the lead vocalist.
Wobbler music is full of the classic Mellotron, Mini-Moog, and Rickenbacker sound perfected during the “Golden Years” of progressive rock, during the 1960s and 70s.
Hinterland, opens with a short deep bass and stringed intro; “Serenade for 1652”; before a fantastic drumroll, lead intro, to the title track, and longest song on the album at over 27 minutes, “Hinterland”. It is full of King Crimson and ELP influences, but is original and unique music performed by a band emerging from the stagnation of the early 2000s Neo-Prog haze. The flute work is eerily reminiscent of both King Crimson and one of my favorite bands Traffic. This magnificent, over 27-minute epic was the perfect way to set a course for the future for this band. It stands out as a monument to their approach and return to the classic sound of progressive rock over the Neo-prog sound that was dominant, at the time. Every piano note, keyboard stroke, guitar or bass chord, and drum note of this epic is grand. But at the 6:30 minute mark, they re-create that sound wave, most prevalent on King Crimson’s The Court of the Crimson King and Genesis’ “The Fountain of Salmacis”; and joy fills your ears and body as you remember the effect of hearing it for the first time. Simply magnificent. The rest of the song is full of intricate Mellotron and Mini-Moog sounds. They also seem to re-create the “hallowed halls effect” of Yes’ magnificent quiet section of “And You and I”, around the 12-minute mark of this epic. The keyboards throughout this epic are a great salute to Keith Emerson, while at the same time Wobbler’s Lars Fredrik Frøislie created some unique sounds of his own. The closing moments of this epic have a wonderful, “Karn Evil 9”, feel to it, with the flute almost playing a jig, all the while, that deep Squire-like bass keeps time. This is definitely one of Wobbler’s best songs and needed to be heard and celebrated again, by all those, like me who may have missed it in error, the first time around.
“Rubato Industry”, is full of more influence from later day King Crimson. It is full of rubato tempo and exquisite flute work, along with piano and harpsichord.
“Clair Obscur”, is a more mystical adventure full of piano and unique guitar.
Hinterland, is a wonderful welcometo Wobbler, with the title track making a mark that understandably set the band apart from anything that was being developed at the same time, save The Watch, from Italy, who had released Vacuum, the year before, in 2004.
TRACKLIST
- Serenade for 1652 – :42
- Hinterland – 27:32
- Rubato Industry – 12:43
- Clair Obscur – 15:41
On to Afterglow. This album would be the last with vocal contributions from Tony Johannessen. The album opens with a Renaissance faire sound, like something out of the educated past. A short, less than a minute, intro to the album, named, “The Haywain”. Like a beautiful landscaped painting it is a joy to appreciate.
“Imperial Winter White”, is everything you would want a song with a title like that, to be. Powerful, commanding and full, like a bombastic blizzard storming out of the mountains. It is the longest track on the album at 15:03. It is full of jazz, Tull – like flute, and some incredible organ, bass and guitar work. When I first saw that title I was thinking Zep’s “Immigrant’s Song”, and a horde of Vikings invading on ships. Instead, Johannessen sings joyfully like a wonderful combination of Peter Gabriel and Fish, from Marillion.
“Interlude”, sounds like something wonderful that was left off a Jethro Tull album. Deep bass, acoustic guitar and perfect flute accompaniment. Then tambourine is added and the pace picks up. You keep wanting, and assume they are going to break into “Bourée”, but it never happens.
“In Taberna”, is an over 13-minute masterpiece of keyboard wizardry even Keith Emerson would hail. The flute and power of this maze of musical architecture is memorable and gothic in nature. Definitely some keyboard influences from Keith Emerson, but who could possibly blame them for calling on the master. Some Kansas’ like strings, standing bass and organ with melody, helps closes this epic track, along with a return to the Renaissance faire flutes and woodwinds.
“Armoury”, closes the album with a return to the Renaissance flair. You can feel the joy and almost see the jesters dance in your mind. There is a familiar melody that permeates the mix. Then, they add pipe organ and Emerson-like keys to make the whole thing complete. Spacey keys takes the album to a close.
Another fine chapter in the development of Wobbler. This wonderful album is a departure from the last album’s epic title track. But it is still a memorable album for a band developing its own sound.
TRACKLIST
- The Haywain – :58
- Imperial Winter White – 15:03
- Interlude – 2:37
- In Taberna – 13:07
- Armoury – 3:00
Rites at Dawn was a time for a change. “The arrival of new singer Andreas W. S. Prestmo, who is a songwriter and lyricist, helped take the band to a new level where vocal melodies, lyrics, arrangements and performances came together in a cohesive whole”. “Rites at Dawn reflected Andreas’ preoccupations with nature and spirituality in words and music, that took on a luminous, mystical nature”.
The album opens with “Lucid”, full of keyboards and effects like waking from a lucid dream. Deep keys, flutes, and a symphonic opening, similar to many Yes and Genesis classics.
Then they take it higher, on “Lá Bealtaine”, as Andreas’ voice rockets ever higher like Jon Anderson has joined Wobbler. I bet many who heard this album for the first time must have been surprised. The change from Johannessen to Prestmo is exact. Wobbler changes from an ELP/King Crimson sound to Yes, almost overnight. Deep Squire-like bass, high vocals and little of the Emerson-like keyboards remain. This sounds more like Rick Wakeman. More eloquent vocal melodies and more lyrics and stories to ponder. The Gaelic May Day festival, celebrated with much talk of beautiful waterfalls. Designating their own sound and territory.
“In Orbit”, has a more powerful, spacey keyboard sound. There seems to be an instant confidence, which exudes from this sound. More powerful and in command of what they are creating. Faster and richer in texture. So many multi-layered effects, which absolutely elevates the level of the band’s playing and sound. There is also more of an early Genesis presence to this sound, which definitely makes me and all Genesis fans happy, I am sure. Yes, the keyboards are more Banks/Wakeman, than the earlier almost exclusively Emerson sound. The guitar work also sounds almost exclusively like Steve Howe, with the bass matched to Chris Squire. It is a wonderful sound, Genesis mixed with Yes! Which fan of either band could not enjoy Wobbler?
“This Past Presence”, sounds like it could fit very well on Selling England by the Pound, or Wind and Wuthering, at its opening. But then those Howe-like chopping guitar chords and those Squire-like deep bass chords take this one back to Tales from Topographic Oceans. What a wonderful ride that was. An immensely intense track full of everything you could want in a progressive rock song. The piano at the end would delight Tony Banks.
“A Faerie’s Play”, opens with soft electric guitar, keyboards and flute. Then, the pace picks up as more and more instruments are added to the soundscape. As momentum builds, as a listener, you know you are listening to something completely different from his band. You can hear the immediate maturity and range of imagery grow. As more is added to the sound, the layers build and you have something that will take years to truly appreciate. Just sit back and enjoy the cosmic intensity.
“The River”, is another song which could fit very well on several Yes albums, but right now Fragile seems the best fit. Then, at 1:36, it settles down to a classic Nursery Crime or Foxtrot pace.
“Lucid Dreams”, closes the album, leaving you with wonderful dreams of spring and summer and the festiveness that ensue. Welcome to a new wonderland of charmed sound, and stories to enjoy.
TRACKLIST
- Lucid – 1:41
- Lá Bealtaine – 7:55
- In Orbit – 12:29
- This Past Presence – 6:14
- A Faerie’s Play – 5:20
- The River – 10:06
- Lucid Dreams – 2:21
Thank you Karisma Records and Wobbler for bringing these wonderful albums out of ‘hiding’. Every track is meaningful and wonderful to have enjoyed. I think my favorite of the three is Rites at Dawn, withHinterland, a close second, and Afterglow, in third. I am so happy to finally have heard all of Wobbler’s albums; and this review has inspired me to go on to eventually review From Silence to Somewhere in the near future. If you, like me, are rather new to Wobbler, get this collection and enjoy. Then, get the other two newer albums, while they are still available. A nice, handy five album collection. But wait, their will be more, and I think soon. This band has just begun, and I look for even better evolution on each album in the future. They are with Italy’s The Watch, the holders of the key to the past, of the “Golden Era” of Progressive Rock.