For those not familiar with Norwegian Prog bands White Willow and Wobbler you may never have heard of Lars Fredrik Frøislie. Lars is currently the latter bands keyboard player and who first come to my attention in 2023 having bought his first solo album Fire Fortellinger, an album steeped in Norwegian folklore. Two years on and Frøislie once again hits the spot with another fine album of what can only be described as “classic Prog”. Gamle Mester or Old Master Follows on from his first solo endeavour, maintaining themes influenced by mythology, though art and literature also come into play, reflecting no doubt his other profession as an art historian. This becomes evident when viewing the rather fine art work on the front cover of Gamle Mester depicting an ancient landscape with a bold red tree printed in the centre of the image reminding me so much of the recently felled tree in the sycamore gap here in the UK.
The album consists of six quality pieces, three of which are instrumental and three with Frøslie singing on them. Lars has stated in interviews that he sings in his native Norwegian language as he doesn’t want to fall into the same trap as some European bands and attempt to sing in English and I for one admire him for that. The fact that I don’t understand any of the lyrics did not in any way distract me from enjoying every track on the album. As well as all of the keyboards. Lars also plays drums throughout and takes care of production too. His recording and production techniques reflect the nature of the music and its origins reflecting the 70’s sound,it remains contemporary yet true to the spirit of the artists who influence his style. To list said influences would be I think stating the obvious.
To achieve the original tonal palette, Lars utilises the myriad of instruments that fill the basement of his house and studio. These include a Hammond C3 organ, Mellotron M400, Chamberlain M1, Mini Moog model D synthesiser, ARP synthesisers, Yamaha CP70 piano, Fender Rhodes electric piano, Hohner clavinet D and a real harpsichord. A multi instrumentalist is an understatement. However, he called upon his old White Willow band mate Ketil Vestru Einarson to play flute and recorder, whilst Elephant 9’s Nikolai Hængsle plays a rather mean Rickenbacker 4003 bass. The album begins with Demring (Dawn ) very quietly with the Hammond organ intro swelling to a full blown Tron-laden Prog feast within seconds. Growling bass and flute adding a hint of Jethro Tull to the proceedings until a lull at 2.40s introducing the first haunting tones of the Yamaha CP70 piano. Subtle synthesiser inflections throughout along with the driving Hammond and Mellotron barrage will have Greenslade fans forming an orderly queue.
Fast off the mark with powerful drums and Chamberlain M1 flute, Jakten Pä Det Kalydonske Villsvin ( The Hunt For The Calydonian Boar ) finds Lars Fredrik Frøslie taking on vocals for the first time on the album, though after hearing him sing on his first album I was prepared and accepted my own linguistic limitations. This prevented me from letting that barrier mar my enjoyment of the music. This really is a keyboard fest in which Mellotron fans can fully immerse themselves. Great Fender Rhodes and harpsichord too. Excitement and subtlety in equal measures. Moving into the title track Gamle Mester ( Old Master ) the listener is once again greeted with a breezy fast moving start and captivating sound with a complete time signature change at around 1.30s followed by a lush, slow burning Hammond break highlighting Frøislie’s svelt touch before returning to the main theme. I was reminded of the way Camel recorded voices on their Snowgoose album throughout this piece and it really did bring back those heady days.
Medusa Fläte ( The Raft Of Medusa ) is without doubt the most dramatic piece on the album and begins with sinister organ stabs and Mellotron backing with powerful drums and great melodic vocals. Very much augmented by Frøslie’s use of real harpsichord, though the choral Mellotron and Hammond organ are spectacular giving out a majestic overall musical experience. The production here is first class. I find the use of harpsichord throughout the album really does lend itself well to to more obvious Rick Wakeman influenced pieces such as De Tre Gratia ( The Three Graces ) where the polite harpsichord intro belies the most Yes-like vibe on the album. Nikolai Hængsle’s Rickenbacker really channelling the late Chris Squire perfectly. Great highs and lows throughout the song with only the harpsichord steering it away from the obvious overtones. Cello and flute combination alone with the fore mentioned instruments somehow give out an ethereal Elizabethan sound before the piece romps to towards its conclusion in epic style.
Beginning with the rousing Demring representing dawn, it is only fitting to conclude with a piece representing dusk. This is beautifully portrayed with the crisp and haunting vibe-like tones of the Yamaha CP70 piano at the beginning of Scumring ( dawn ). Returning to the opening motif at the beginning of the album, Scumring is suitably atmospheric enough to round off an absolute diamond of a musical statement. If the classic Prog rock sound is what you love and miss then I would consider Gamle Mester to be an essential purchase. It is as if a baton has been passed through time from a 70’s keyboard king to a keyboard wizard of 2025. It is available via Bancamp on Karisma Records as a CD, digital download and vinyl record. In keeping with its 70’s brethren I have opted for the vinyl version of which there are two available, black or green. Though at the time of writing only a few of the limited green option were available to buy. A strong candidate for my album of the years 2025. Terrific stuff Mt Frøislie.
