Coming on five years since the last Wobbler album, folks lamenting the increasing gap between delicious dishes of heavily indebted 70s progressive rock with a distinctive Norwegian folk twist should instead be overjoyed the band’s keyboardist Lars Fredrik Frøislie has kept so busy. Whether he’s participating in the supergroup Chronicles of Father Robin who released a triptych of concept album in the intervening years or hitting his fantastic solo albums, the man is keeping the flame alive. His latest solo effort, Gamle Mester, is my favorite recording from the man yet, fully analog prog rock that wonderfully adheres to the sonic touchstones of his influences without being beholden to them. Those yearning for some of the best organ, mellotron, and keyboard work in the scene right now should be well aware of this; time for the rest of you to get on board.

Handling all of the instrumentation except for bass (that stellar Rickenbacker is courtesy of Nikolai Hængsle) and some beautifully integrated flute, Frøislie has constructed a concept record around the ancient and inspirational oak tree “Den Gamle Mester”, found at Krødsherad Prestegård. Opening with the dawn of “Demring” and closing with the dusk of “Skumring” Gamle Mester combines fluid instrumentals and lengthy prog epics where Frøislie’s rich vocals tell the story – in Norwegian so I have no idea what he’s actually saying, but will give him the benefit of the doubt it all ties together.

It certainly opens strong. “Demring” explodes with a beautiful organ arpeggio and that Rickenbacker backing it up. Man, nothing sounds like a Ricknebacker played with deftness and skill. It’s an organ feast, taking in a lot of folk elements and some lovely flute from Ketil Einarsen. There are definite traces of Jethro Tull in the way the organ and flute trade melody lines, but there’s also a slight classical feel to how the song is arranged, and overall it’s a fantastic way to open the album. From there it moves to the first epic and vocal take, ” Jaylen På Set Kalydonske Villsvin” and the first thing that came to my mind was Opeth. Despite having vocals, the majority of the song is devoted to lengthy passages that give a regal, somewhat somber tone to the track. It’s in opposition to the instrumental title track which features Hængsle’s Rickenbacker in full force.

The second of Gamle Mester echoes the first – honestly there’s only so much I can write about each track before repeating myself. “Medusas Flåte” has a rocking riff using mellotron in place of a choir and there are layers upon layers of keyboards providing a lush blanket of sound before a snappy little riff comes to preface Frøislie’s vocals. It might be the most “retro” song on the album. At 12 and half minutes “De Tre Gratier” is the biggest epic of the bunch, and “epic” is a suitable descriptor here: there’s a grandness to the arrangement and structure, and it’s also the first time I really notice how adept Frøislie is with his drumming. Yes influences abound in the keyboard sections, and the man’s songwriting skills have increased in leaps and bounds over his already fine debut Fire Fortellinger.

By the time Gamle Mester comes to an end with the brief “Skumring” which melodically mirrors “Demring” with a twilight bent I realize Wobbler can go another five years if they want, as long as Lars Fredrik Frøislie continues turning out records like this. A truly fantastic album that nods to the past and deepens my appreciation for the genre.