Norwegian symphonic proggers The Wimdmill made quite an impression as the opening act of the final day of the 2014 Cambridge Rock Festival. The six piece featuring flute and sax alongside twin guitars and vintage keyboard noises went down well enough to be invited back again in 2016, where they again went down a storm.
To date, the band have recorded two albums, the second of which, “The Continuation” became part of the festival merch desk haul following their 2014 appearance. It’s an album that’s received regular plays ever since.
The short instrumental title track sets the mood, a melodic number with the main theme alternating between flute and lead guitar. The lengthy “The Masque” is a song of two parts, a pastoral opening section then an extended instrumental workout in which every member bar the rhythm section takes multiple solos. After an opening in a similar vein to the title track, “Not Alone” builds into a big soaring ballad. The cod-reggae of “Giant Prize is perhaps the only dud, but at just over three minutes it’s mercifully short. Then we’re into the grand finale of “The Gamer”, a sometimes completely bonkers 24 minute epic which mercilessly takes the piss out of obsessive video game players who never go outside.
This is old-school retro-prog with little concession to contemporary sounds, going from flute-led pastoral passages to occasional irruptions of big band jazz. What they do have is a strong sense of melody, which if anything is most prominent in some of the flute and guitar lines rather than the vocals. This a band who are not shy about embracing the odd cliché; we’ve even got a minimoog solo consisting of minor-key arpeggios in 9/8 time at one point. But they’re also a band who do it well enough to be able to get away with it. There is something about them that rises above generic Euro-prog.
Both albums are listed on sale on the band’s website, though it doesn’t look as if it’s been updated recently, though their facebook page is still active. The band are currently working on a third album.