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Showing posts from September, 2025

Song Recommendation: “Sunshine State” by Fortitude Valley (2025)

A song so catchy and upbeat, it can take a minute for its chorus to really sink in and reveal itself to be a thorny, “it’s not you, it’s me” breakup anthem. “My heart was never in it,” singer Laura Kovic cries after setting the stage with that ominous phrase anyone in a struggling relationship will have to eventually deploy: “can we have that conversation…?” Then, as if to express that curious mix of dread and hope when a new beginning is in sight, the band break into an extended jam session with a disciplined guitar solo and then, after one last confidence boosting repetition of the chorus, the whole group vocalizes together in a final sonic hug of “yeah, you gotta move on” solidarity. 

Song Recommendation: “Gamle Mester” by Lars Fredrik Frøislie (2025)

If you’re not really “into” prog but just say to yourself “I’ll get around to getting into it” and never wind up doing it (maybe it’s the usual extended length of the songs, the loosy-goosy nature of the instrumentation and song structure, the obtuse or corny lyrics, etc.), then I’ve got a song for you! “Gamle Mester” by the talented Lars Fredrik Frøislie somehow deconstructs and then reassembles a masterful mini-prog rock instrumental that is as technically impressive as it is engaging. It’s amazing how just rearranging the constituent parts alongside some thoughtful production choices can make something as niche as a “70’s style 7+ minute instrumental prog rock” extremely approachable. Blasting out of the gate with what would usually be saved for the epic late-song jammy climax, the song surges ahead with a sparkling energy: vocal “ahhs” over laser-light show guitar and synth lines and a rollicking rhythm section for nearly two minutes before finally touching down at would more likely have been saved for the intro: a noodly little organ line and sparse drumming. Instead of building towards what we heard in this song’s actual intro, this slower section serves instead as a breather and come-down and then, over the course of another minute it slowly rises out of the mist until it reaches a sheer escarpment of organ blasts and double drums before slipping and falling once again into noodly territory. In this final section of the song, Frøislie should, by now have you by the throat, having trained your ear to expect this loop and then with expert tension he gleefully builds back to the opening’s exuberant chorus. And just like that, you’ve lost seven minutes but, hopefully, are thirsty for more.