Short Reviews [Frostlake - 2025 - "Shattered Stone"]

Before we get into the haunting beauty of the fourth album by Frostlake, it is only right to talk a little bit about those involved and who plays on what. Although the band is now a trio with Andy Peake joining Jan Todd and Terry Todd, there are only two of the eleven songs where all three involved as we have three where it is Jan solo, two where she plays with Andy, and four where she is with Terry. Jan wrote four of the songs on her own, four with Terry, two with Andy and only one where it is the three of them, so in many ways this feels more like a Jan solo album than a true band. Mind you, when one looks at the instrumentation one can see why that appears to be the case, as she provides vocals, melodies and lyrics, guitar-electric/acoustic, cello, electric Harp.E, baritone psaltery, waterphones, guzheng, Hulusi flute, kalimba, Theremin, Korg wavedrum, Noisebox metal percussion, midi keys, software instruments, drum creations/samples, electronics, field recordings, studio recording and post production, and there is just room for Terry (electro-acoustic bass guitar, electro-acoustic 12 string guitar) and Andy (piano, organ). For those thinking some of those names are strangely familiar I will put you out of your misery as Andy was a founder member of the critically acclaimed post punk act The Comsat Angels, which Terry then joined in the Nineties. It is safe to say that Frostlake are somewhat removed from those origins. Mind you, given that both Jan and Terry are also members of Orchestra Of The Upper Atmosphere, a band formed in 2010 by Martin Archer and Chris Bywater, due to their love of Magma, Terry Riley, Alice Coltrane, Stockhausen and Sun Ra, that makes somewhat more sense. This album revolved around the vocals of Jan, with waves of instrumentation placed against them which are somewhat fragile, yet which together build a structure which is solid and the listener is transported on a journey to a far and distant destination. With so many different sounds coming at the listener it can be quite difficult to work out exactly what is taking place, and with what, so it is better to instead concentrate on the vocals and allow everything else to do what it is supposed to, namely provide a backdrop without ever moving into the harsh spotlight. In some ways it reminds me of Talis Kimberley from the Nineties, especially when Jan is using a psaltery, yet there are also hints of Maryen Cairns, Enya, Anna Ryder and Jo Beth Young. I can see fans of Talitha Rise, especially ‘An Abandoned Orchid House’, finding a great deal on here to enjoy as not only is this musical but truly magical in so many ways. It is music which must be played on headphones when one has the time to truly concentrate as otherwise all the nuances pass one by, and it is these which truly lift this release. I have enjoyed this so much that I have sought out their last release, 2021’s ‘The Weight of Clouds’, which I will be reviewing soon. If you enjoy beautiful modern progressive folk with wonderful female vocals then this is definitely one to seek out.