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Dystopian Rock: A Request for Ideas

Dear Citizens of the anarcho-Republic of Progarchy,

As some of you might know, in addition to editing this site, I also pretend to be a professor and author during the day.  I’m currently working on a book on the history of dystopias (and dystopic ideas) in fiction, film, and music.  I’m trying to compile a list of dystopian rock albums.  Here’s what I’ve come up with.  If, in the comments section, you’d like to make suggestions of things I’ve missed–PLEASE do so!  I would be exceedingly grateful!

Yours, Brad

"Abandoned" by Craig Farham.

“Abandoned” by Craig Farham.

 

 

Rush, 2112

Rush, Clockwork Angels

The entire Ayreon series

Arjen Lucassen, Life in the New Real

The Tangent, Not as Good as the Book

Pink Floyd, Animals

Pink Floyd, The Wall

Gary Numan, “Down in the Park”

Radiohead, Kid A

Cosmograf, Capacitor

A few songs by Muse, Oingo Boingo, Coheed and Cambria

Flower Kings, Desolation Rose

Porcupine Tree, Fear of a Blank Planet

Yes, “Machine Messiah”

The Moral Law of Big Big Train

by Craig Farham

Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, a charm to sadness, and life to everything. (Plato)

The members of Big Big Train with Dutch photographer, Willem Klopper.

The members of Big Big Train with Dutch photographer, Willem Klopper.

Is it possible that Plato was writing about Big Big Train’s latest masterclass of musical wonder, English Electric, Part 2 (EE2)? Probably not, but two millennia before locomotives, social networking, digital recording, the global network, or austerity measures in his beloved city state, Plato certainly knew a thing or two about the power of oscillating waveforms to connect people.

Did the members of Big Big Train read Plato before embarking on their epic journey to morph their observations of contemporary and historical people and events into oscillating waveforms of power and beauty? Again, probably not. But EE2 certainly fits Plato’s moral law to a tee.

Beautifully crafted from the opening piano chords to the final fade out of a single piano note, EE2 continues the journey begun on EE1, my album of the year in 2012, into the heart and soul of industrial England, its people, and the surrounding countryside. The album weaves tales of steam trains, ship-building, coal miners, a second chance at love, the custodian of a historical monument, the British landscape, and butterfly collections as a metaphor for life and death, with musical arrangements that range from sparse to massive, light-hearted to intense, but are always melodious and warm. The album has the same lush production and attention to detail as EE1, with exquisite use of brass band and strings beautifully complementing the electric instruments. The songs range in length from just under 4 minutes to nearly 16 minutes, and every song is exactly as long as it needs to be – no filler, bloat, or needless noodling.

The addition of Danny Manners as a full-time band member on piano, keyboards and double bass has lifted an already impressive ensemble another notch, and I’m delighted that the compositions on EE2 have given David Gregory more scope to develop his exceptional guitar solos. The rest of the band are also in fine fettle – Greg Spawton’s basslines are on a par with those of Gentle Giant’s Ray Shulman (and his compositional skills are equally impressive), Nick D’Virgilio’s drumming is peerless (he recorded the drum parts for both EE1 and EE2 in three days…!), Andy Poole has stepped forward from the producer’s chair to contribute backing vocal, guitar and keyboard parts, and Dave Longdon, who I think has the best voice in modern prog, contributes massively with his flute work and a wide array of sundry instruments, including banjo, keyboards, guitar, cutlery and glassware(!), in addition to his great songwriting. There is also a large cast of supporting musicians, including Dave Desmond, whose marvelous brass band arrangements are an integral part of the unique BBT sound, Rachel Hall on violin, and The Tangent’s Andy Tillison on keyboards.

The newest member of Big Big Train, the extraordinary Danny Manners.  Photo used by kind permission from Willem Klopper.

The newest member of Big Big Train, the extraordinary Danny Manners. Photo used by kind permission of Willem Klopper.

Although EE2 is the second half of a double album released in two separate parts, it stands on its own as a superb example of the vibrance of the new wave of progressive music, which is finally lifting itself out of the shadow of the so-called “golden age of prog” in the 1970s. To listen to EE2 on its own, however, is to miss out on half the fun. EE1 and EE2 should be seen as a single body of work, a superb collection of songs and an important milestone in the history of modern music.

English Electric by Big Big Train is a moral law that demands to be upheld. To paraphrase a comment I made on the BBT Facebook site, these are albums to cherish – I’ll be listening to this music as long as my cochlear apparatus is capable of responding to their oscillating waveforms and connecting my soul to the universe…

***

[Dear Progarchists, thank you so much for letting us enjoy this four-day love fest of all things Big Big Train.  It’s been quite an honor.  Craig’s post–his inaugural post as an official citizen of the Republic of Progarchy, by the way–concludes our roundtable reviews of the latest BBT masterpiece, English Electric V. 2.  To order it directly from the band, go to www.bigbigtrain.com/shop.–Yours, Brad (ed.)]

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