Review: Frost* - Towerblock (Song)

One thing that first attracted me to the glory that is Frost* was Jem Godfrey's sheer madness and keyboard wizardry. I had found my way into Heavy Metal only a few years prior, and while I loved the (sometimes extended) guitar solos typically featured in that genre, nothing could have prepared me for what I heard on the new web radio station I discovered back then - it must have been the defunct Progged Radio.

Black Light Machine (off Milliontown, their first album) was one of the first songs I heard there, and for the better part of five minutes it preents to be a fairly normal song, albeit standing out with its long solos and instrumental sections. The songs I've been used to until that point would have ended there. Oh, but not this one.
After six and a half minutes it starts building up again, building up into something I had simply never heard before. Trippy, glitchy keyboard sections followed by solos that make you feel like you're watching the star gate sequence in 2001: A Space Odyssey
There's not much opportunity to breathe once it starts winding down again, as it launches right back into madness. I think listening to it for the first time must have left me mentally exhausted - if not suffering from a mental orgasm.

Towerblock shares this madness, but does not copy it. It's not simply more of the same.
While it does mirror the sharp left turn Black Light Machine takes, Towerblack makes its predecessor sound as if it is somewhat collected and with direction.
What we have here can only be described as a sneeze-explosion of Jem Godfrey Prog madness.

But let's start at the song's beginning.

The song preceding it on Falling Satellites, Numbers, carries over for a few seconds - in rather gloomy fashion - but this eerie intro sequence then abruptly cuts into a different passage with similar atmosphere. Mechanical sounds of all sorts soon allow the song to evolve into a piece that makes one feel nostalgic by proxy through both music and lyrics, easily achieving its goal: to set that particular mood - only to break it. Quite literally. Sounds of glass breaking sweep in violently, and there’s that wild right turn that mirrors the sharp left from Black Light Machine.

Choppy modern beats, samples, and keyboard swipes crash together in a glorious collision which then – maybe a little too suddenly – turns into proper keyboard wizardry that let’s you know exactly which band’s playing right now. And that’s just the first half of the song. In contrast, the second half is basically compelled to be less eventful by comparison. It combines that burst of energy with the nostalgic lines from earlier and never even comes close to being boring through its many layers. Only today, when listening to the song on repeat, did I become distinctly aware of the pre-madness lyrics being mixed under the chorus in the song's final third.

Where the prog-explosion propelled it forward, the rest of the song also lifts upwards, providing several more memorable moments. A passage I’ll never ever get out of my head again is the way Godfrey sings “there’ll be nothing left of your devastation” near the four minute mark, a chill-inducing moment, to make an understatement.

Eventually, Towerblock enters a controlled stumble and – like a machine shutting down - returns to a glitchy pile of sounds, instantly joining the ranks of Hyperventilate, Black Light Machine, or the duo that is Dear Dead Days and Falling Down: songs of which I’ll never tire.