A review of Scorch by the Tin Spirits (Esoteric Records, 2014; officially released on September 15).
8 Tracks: Carnivore; Summer Now; Old Hands; Binary Man; Little Eyes; Wrapped and Tied; She Moves Among Us; and Garden State.
The Tin Spirits are: Dave Gregory (guitar); Mark Kilminster (bass and lead vocals); Daniel Steinhardt (guitar, vocals); and Doug Mussard (drums and vocals). You can visit the band at: http://tinspirits.co.uk
Highest recommendation. A must own for any lover of music.
A match explodes into flame, and so it begins.
The opening song, an instrumental, possesses the infectious personality of the best of post-Hackett Genesis, especially with “Turn It On Again” and “Abacab.”
Armed with driving bass, soulful guitar, and persistent drums, “Carnivore” moves the listener rapidly into an unknown future, and it does so without a trace of trepidation. And, yet, it contains a voluptuous kind of beauty.
This description applies specifically to the first of the eight tracks, but it could just as easily apply to much of the album. However one describes Scorch, the Tin Spirits are back, and I, for one, thank the good Lord. These guys are absolutely brilliant, and they seem to be even more so than they were with their first album, Wired to Earth.
This is no feint praise.
That album, Wired to Earth, hit me rather hard when it first came out. As far as I know, I was the first American to own and review a copy. I’m rather proud of this. Greg Spawton, maestro of Big Big Train, had recommended it on his own blog, noting it was a guitar kind of prog.
And, so it was.
Beginning with a somewhat airy instrumental and having a total of only five tracks, Wired to Earth called for full immersion. From airy, it moved quickly to hyper and heavy, then to 1974 Genesis, then to a gut-wrenchingly beautiful Allman Brothers style epic, concluding with a great guitar-pop rocker in the style of Nebraskan Matthew Sweet.
Even after three years of listening to the album, I’ve never tired of it. I play it at least weekly, and, in fact, the entire Birzer family loves it.
Following the intensity of “Carnivore” on Scorch, the second track, “Summer Now” gently guides the listener into a hypnotic state. Most likely, every reader of progarchy has already watched the first video from the album, and you’ve heard and seen what Tin Spirits is capable of. The video, of course, is gorgeous and psychedelic in a late 1980’s Tears for Fears kind of way. All four members look as though they’re having a blast, and Mark (vocalist and bassist) looks surprisingly GQ and non-prog! Guitar god Dave Gregory, who never seems to age, offers what is arguably the most tasteful guitar solo of the last decade. In every way, the Tin Spirits have captured the essence of summer with this song.
I’m not exactly sure about what’s going on with the cover (see above). It looks as though two bolts of lightning have fried some poor guy. It’s also possible the guy is shooting bolts of lightning from his body in an explosion of energy. Maybe this is a kind of a “glass half empty” or “glass half full” thing.
With the title, Scorch, though, I suspect that Icarus flew too close to the sun. Gods will be gods, and they generally don’t like man to upstage them. As Worf once explained, the Klingons found their gods more trouble than they were worth, and so they killed them. I must admit, as I look at the cover of Scorch, I’m hopeful for Icarus, siding more than a bit with the Klingons on this issue.
The interior artwork of the CD booklet flows easily from psychedelic to pyrodelic, the flowers of the first pages having become nothing more than swirled outlines of flame by the end.
I choose to believe that through the Tin Spirits, Icarus has finally prevailed against the gods.
Ok, back to the review. After all, shouldn’t a review of a prog album have an interlude?
The third track, “Old Hands,” begins deceptively. Starting as a somewhat simple World Party-like pop song, it suddenly morphs into a rather fulsome puzzle about deceptions and realities. The interplay of drums and bass especially stand out on the track.
Returning to the early 1980’s Genesis-like thrumming of “Carnivore,” “Binary Man” simply rocks. Perfectly placed on the album, “Binary Man” reveals not only the excellence of each member of the band as an individual performer, but it also highlights the power of Kilminster’s voice. “Your hypocrisy is deafening,” Kilminster laments.
“Little Eyes” is another beautiful song in the vein of “Summer Now.” Thematically, it deals with fortitude, and the guitar work on it fits wonderfully.
Grungy, angsty guitars explode at the beginning of the sixth track, “Wrapped and Tied.” The entire song has the feel of being caught in a tornado in the intial stages of its formation.
Track seven, “She Moves Among Us,” brings the listener back to the indescribable beauty of a flowering meadow. Imagine a Steve Howe solo without the overbearing flashiness, and you have “She Moves Among Us.” The whole piece whispers “taste.” As the song is an instrumental, we’ll probably never know who “she” is. But, if the guitar matches her elegance, I’m in love.
At a little over fifteen minutes in length, the eighth and final song, “Garden State,” is epic. But, it’s certainly not the length that makes this so utterly brilliant. Every aspect of the Tin Spirits comes to the fore in this finale. The song effortlessly flows from moment to moment, all parts of a coherent and cohesive whole, held together by four instruments and a voice.
Indeed, from confidence to concern to anxiety to a dreamlike state to determination and, finally, back to confidence, Kilminster again proves his sheer skill as a vocalist. There’s not a single thing about this album I could criticize, as it’s, frankly, a perfect piece of music. Still, if some one forced me, I could state with only minor reluctance that “Garden State” alone makes this album worthwhile. It is a song that good and that powerful. This epic even ends with an homage to Elton John and Bernie Talpin and a “Funeral for a Friend.”
A perfect end to a perfect album. Were I grading it, I’d give in an A+.
A few years ago, I proudly proclaimed Dave Gregory one of the three greatest living guitarists. This album only affirms my rather bold statement. Holy Moses. What an absolute delight. I also proclaimed the lyricists of Tin Spirits to be in the line of Keats, Wilde, and Yeats. And, again, my declaration has proven true. Again, an absolute delight.
Fly, Icarus. Fly.
As far as I know, I have the very proud distinction of being the very first North American to review “Wired to Earth,” the first release from the Tin Spirits. Greg Spawton had recommended it as a unique form of guitar prog, and I ordered it immediately. That Dave Gregory played on it didn’t hurt my decision, either. I had just written something about Alex Lifeson, Matt Stevens, and Dave Gregory being among my all-time favorite guitarists, and I was certainly elated to have more proof of the truth of this. So, yeah, I’m proud to have reviewed Wired to Earth immediately upon its release. It grabbed me from the moment I first heard it. And, as my wife can verify, I pretty much listen to it all of the time, especially when The Birzers are on the road. Which is quite often. And, because of some very personal family history, the fourth track on the album, “Broken,” means as much to me as any song. If you’re not religious, forgive me–but I can’t help but thank God for the health of Penny. You’ll see why in the interview.
When I heard that “Scorch” (forthcoming, September 15, from Esoteric Records) would be the second release from the Tin Spirits, I put away my very shy nature [for those of you who know me, you’re laughing] and ask Mark Kilminster about the album. Not surprisingly–after all, he’s an incredibly nice guy–he responded with enthusiasm. So, wonderful, say I! Thank you, Mark.
Progarchy: Mark, thank you so much for taking time to talk with us. We know you have to be incredibly busy, and we’re honored [honoured for our English readers!] you’d spend some time with us. About half of our readership is North American, and, despite my best efforts, Tin Spirits is still not as well known on this side of the Atlantic as it should be. For our benefit, would you mind giving a bit of history of the band? How it came together? How you knew and recruited Dave Gregory? Where the name comes from?
Mark: No problem Brad, the honour is all mine. I’ll attempt the short version! Dan, Doug and I had been in a functioning band together since 2006, playing standard rock covers. Dan was already friends with Dave through Dan’s GigRig company (amazing guitar pedal switching systems) and through a bit of superfan stalking (sorry Dan!).
Our first meeting with the four of us came about when Dan wanted to create an “Amp Shootout” video to demonstrate the different tonal capabilities of different amps. He asked Doug and me to play drums and bass respectively in the video and as a long shot, he asked Dave if he’d like to take part, too. Much to our surprise and excitement, Dave happily agreed, and we spent the day jamming in a studio. It was clear to all that the four of us made a pretty decent racket so Dan suggested asking Dave if he would be interested in joining us to create a new band, initially playing covers we would normally not be able or allowed to play. Dave happily agreed, and Tin Spirits was born.
With regards to the name, it’s actually one of the hardest things to come up with. That and album titles. We spent weeks bouncing name ideas backwards and forwards via email. If no-one replies, you know it’s a duffer! Then, all of a sudden, Dave just turned up at rehearsal one day and said “What about Tin Spirits?” and everyone breathed a sigh of relief.
Incidentally, exactly the same thing happened with the album titles, “Wired To Earth” and “Scorch.”
Progarchy: Youtube is full of videos of the Tin Spirits covering great rock and prog songs. You cover XTC (naturally), Rush, Steely Dan, Yes. Can you tell us a little bit about this? Why these, and how much did they influence the style of original Tin Spirits music?
Mark: Well, the initial idea was “let’s play the songs we love and have always wanted to play but couldn’t.” Mainly because if you play Roundabout at a wedding, you won’t get paid! [The interviewer is laughing very, very hard at this—ed.] So we each went away and created a “dream setlist,” and it became clear very quickly that we were all big prog fans. So once we’d gone through everyone’s list and picked the ones we all agreed on, that’s what we ended up with.
We also covered Radiohead, Frank Zappa, Free, and Jellyfish to name a few. After we’d done a few local gigs we decided to have a go at writing our own stuff and see how far it went. That’s basically what “Wired To Earth” became, an experiment to see if we could write songs as a band. There was no agenda as far as whether it should be prog or rock or whatever, but I guess because we all have a penchant for that genre, “Wired to Earth” naturally leans towards it (without keyboards).
Progarchy: In the end, you chose to cover a Genesis song for “Wired to Earth.” Was this a hard pick?
Mark: In hindsight, perhaps we shouldn’t have included a cover but as we’d spent such a long time rehearsing the songs, we thought it would be worthwhile sticking one in. I think we chose “Back in NYC” as it was the one we could knock out fairly quickly.
Progarchy: Mark, as you know, my favorite [again, favourite for our English readers!] song on the first album is “Broken.” The lyrics are much more than lyrics. They really reach toward poetry. Can you give us the background to that song?
Mark: Thank you very much Brad.
It was the last song written for “Wired To Earth” and nearly didn’t make it, to be honest.
We had a deadline of early March 2011 to finish the album and were still working on it up to the Christmas 2010 break. We recorded a rough demo without vocals so I could work on the lyrics over the holidays.
My wife was pregnant at the time so the lyrics were initially about my second chance in life, essentially going from being single at 32 to having a family at 35. She was due in May 2011, so the album would be all done by then. However, on 6th Feb our daughter was born 14 weeks premature, weighing just 785 grams [1.73lbs.] and everything turned upside down.
As I remember it, the lyrics were written around the end of February and convey what we were going through at the time. It was a 50-mile round trip to the hospital each day, hoping our little girl was doing ok. So the song was recorded right up to the wire and, in fact, Dan and Dave recorded the twin guitar parts in a freezing, converted church hall one night until 3AM in order to meet the deadline.
Penny is now 3, by the way, and you’d never know to look at her what a tough start to life she had.
Progarchy: We’re in the middle of a glorious moment for prog and for rock—despite what the doomsayers claim. How do you see the Tin Spirits? That is, when someone is looking back at 2014, twenty years from now, how do you want the Tin Spirits to be placed and remembered?
Mark: You know what? It would just be nice to be remembered. There is so much new music out there these days that it’s very difficult to hold anyone’s attention before they move on. I’m as guilty as anyone of that. Ooh, great album. Next! It would be great to think that in 20 years, someone will see a Tin Spirits album in their collection and think “Ah, I think I’ll listen to that today.”
The Tin Spirits are: Mark Kilminster (vocals; bass); Dave Gregory (guitar); Daniel Steinhardt (guitar; vocals); and Doug Mussard (drums; vocals). “Scorch” is produced by Tin Spirits and Mitch Keen; mixed by Paul Stacey (Oasis).
The tracks for “Scorch”: Carnivore; Summer Now; Old Hands; Binary Man; Little Eyes; Wrapped And Tied; She Moves Among Us; Garden State.
Progarchy will let you know as soon as it’s available for preorder. Or, of course, go straight to the official website: http://tinspirits.co.uk
You can order “Wired to Earth” from amazon.com and other outlets, including directly from the record company: http://www.cherryred.co.uk/esoteric-exd.asp?id=3598. Please do. Not only do I give the Tin Spirits my highest recommendation in 2014, but I think I’ll still be promoting them in 2034, should I still be wired to this earth.
A review of “The Underfall Yard” from The Underfall Yard by Big Big Train (English Electric, 2009). Song and words by Greg Spawton. Additionally: David Longdon, vocals and vocal arrangements; Dave Gregory, guitars; Nick D’Virgilio, drums; Andy Poole, bass and keyboards; and [see image on right for a full list]
As much I love albums, I’m always looking for that perfect song. The song that longs to linger in our souls after we’ve heard its last notes. The song that cries to the heavens in triumph, praise, and rage. The song that hovers over that second away from eternity, rooted in the human condition, but reaching for timelessness.
In my first two pieces of this series, I looked at Rush’s “Natural Science” (1980) and The Tangent’s “Where Are They Now” (2009)? In this article, I turn to none other than a well-recognized masterpiece, a (perhaps, THE) cornerstone of third-wave prog, “The Underfall Yard” (2009) by Big Big Train. It originally appeared at the final track of Big Big Train’s 2009 album of the same name, the first to feature the vocals of the incomparable David Longdon.
Six seconds short of twenty-three minutes in length, “The Underfall Yard” is epic in every sense of the meaning of the word. I once gave it to a non-prog friend of mine as an introduction to the genre. He liked it (really, who couldn’t?), but he also joked, “Brad, when I started the song, I didn’t realize I’d have to miss dinner to finish it.”
The lyrics of the song reveal its scope best:
Using available light
He could still see far skies,
Beyond, above, and yet below the far skies rests (not contentedly) deep time. Indeed, given the song, one must imagine deep time as equal parts restless but also confident in its restlessness, sure of itself even in its transitions.
Always a superb lyricist, Spawton reveals his most intimate and poetic sense in this song overall. The words are at once hopeful and melancholic, the piece as a whole trapped in a slowly shifting twilight. The loss is of England’s entrepreneurial and industrial moments of the interwar era, the parents Edwardian, but the children Georgian.
As one stands with Spawton, watching this scene fade in golden and royal hues, he might just as readily be standing with King Alfred hopeful against heathen men as hairy as sin; with Harold of Hastings, tilting against a bastard’s armies; or with Winston Churchill, toiling and sweating against those would rend idyllic places such Coventry with insidious and inhumane progress.
Spawton’s words endlessly capture that which is always true but never quite obvious to all at all times.
The opening moments of the song move from an earnest guitar into a driving and equally earnest interplay of bass and drums, Gregory, D’Virgilio, Poole, and Spawton weaving something both tribal and civilized. More guitars appear, jutting and jetting. Strings emerge as if from the land itself. At 1:45, David Longdon’s voice enters into the art itself with the necessary pitch, the perfect lilt and quaver, and a resonant meaning. If Spawton is coming from sacred soil, Longdon is coming from the heavens, thus allowing the horizon and sky to meet in an infinite moment.
Almost uniquely among singers, Longdon possesses both assuredness and humility in all of his vocal arrangements, but none more so than in this song. While his voice is the voice of a man, it also is the voice of a chorus of men, a plea for generations.
Chasing a dream of the west
Made with iron and stone
Man, in Spawton’s vision, if armed with genius and integrity, reshapes the land, not in man’s image, but in the sacramental, Adamic way had things in Eden not soured.
These are old hills that stand in the way
breaking the line.
It came out of the storm,
out of the sea
to the permanent way
Using just available light,
he could still see far.
Even in his broken state, some men–seers, prophets, bards, skalds, poets and prog rockers–can see beyond the immediate, toward that which is far and that which is deep. Of all creatures, they alone can imagine the heights and the depths of existence.
In Spawton’s vision, England becomes not just another place on this earth, but a place sacred, sacred because man has recreated nature, not through domination, but through creative understanding, the soul and the intellect of each in harmony, not tension.
One is reminded of Spawton’s counterpart in the world of poetry, T.S. Eliot.
A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter’s afternoon, in a secluded chapel
History is now and England.
–T.S. Eliot, Little Gidding
Even the timeless moment, though, can not be seen or understood forever. Timeless moments—the light falling on a secluded chapel—lasts only as long as man knows to look for it. As with all things of beauty, truth, and goodness, it is fleeing, at least through our abilities to perceive, incorporate, and understand.
Roofless engine houses
distant hills like bookends
frame electrical storms
moving out to sea
away from England.
Spawton’s words and Longdon’s voice combine to make the above lyrics not only the most moving parts of the song, but combine to make one of the most moving parts of any song in the rock era.
I could never even count how many times I’ve listened to this song over the last five years. Every time, my stomach drops and my heart and soul swell when I hear this. Every single time.
And, yet, despite the loss of the thing itself, the moment in all of the revelation of its glory, Spawton knows—with the greatest thinkers of the western tradition—that memory can comfort us. Perhaps memory alone.
Parting the land
with the mark of man,
the permanent way,
Using just available light,
he could still see far.
The imprint is true. It always exists. We, however, must choose to remember. When we do, the world becomes just a little brighter. Using just available light.
And, thus, Big Big Train reveals its ultimate contribution to the world of art. Somethings are worth remembering, whatever the cost, and memory itself is a precious and delicate thing beyond any cost.
Far skies, deep time.
If you’ve not noticed before, we progarchists kind of, sort of, really, really like Big Big Train. So. . . it’s with much excitement that we report this.
The Classic Rock Society of the U.K. has just awarded BBT with three well-deserved awards: 1) David Longdon for best vocals; 2) “East Coast Racer” as the best track of the year; and 3) Big Big Train as Great Britain’s best band.
The progarchists of progarchy hq in central Hillsdale County of Michigan are doing a little victory dance for our friends across the Atlantic.
Congratulations to Greg Spawton, David Longdon, Nick D’Virgilio, Dave Gregory, Danny Manners, Andy Poole, and Rob Aubrey. And, of course, to Jim Trainer as well. Amazing and brilliant and wonderful.
Subtitle: “Or, How Plato Made Me Realize We Need to Love 2013. And, If We Don’t, Why We’re Idiots.”
A week or so ago, I had the opportunity to list my top 9 of 11 albums of the past 11 months. Several other progarchists have as well, and I’ve thoroughly enjoyed looking at their lists as well as reading the reasons why the lists are what they are. I really, really like the other progarchists. And, of course, I’d be a fool not to. Amazing writers and thinkers and critics, all.
I’ve been a bit surprised, frankly, that there hasn’t been more overlap in the lists. I don’t mean this in the sense that I expect conformity. Far from it. We took the name progarchists—complete with the angry and brazen red anarchy sign in the middle—for a reason. We’re a free community—free speech, free minds, free citizenship, and free souls. We have no NSA, CIA, or IRS. Nor would we ever want any of these. And, we’ve really no formal rules. We just want to write as well as we can about what we love as much as we love. Any contributor to progarchy is free to post as often or as infrequently as so desired, and the same is true with the length of each post.
I, as well as many others, regard 2013 as the best year of prog in a very, very long time, perhaps the best year ever. I know that some (well, one in particular—a novelist, an Englishman, and a software developer/code guy; but why name names!) might think this is hyperbole. But, having listened to prog and music associated with prog for almost four decades of my four and one-half decades of life, I think I might be entitled to a little meta-ness. And, maybe to a bit of hyperbole. But, no, I actually believe it. This has been the best year in the history of prog. This doesn’t mean that 2012 wasn’t astounding or that 1972 was less astounding than it actually was. Being a historian and somewhat taken with the idea of tradition, continuity, and change, I can’t but help recognize that the greatness of 2013 could never have existed without the greatness of, say, 1972, 1973, 1988, or 1994.
In my previous posts regarding 2013, I thanked a number of folks, praised a number of folks, and listed some amazing, astounding, music—all of which, I’m sure I will continue to listen to for year to come, the good Lord willing. And, I’m sure in five years, a release such as Desolation Rose might take on new meaning. Perhaps it will be the end of an era for Swedish prog or, even, the beginning of an era for the Flower Kings. Time will tell.
So, what a blessing it has been to listen to such fine music. My nine of 11 included, in no order, Cosmograf, The Flower Kings, Ayreon, Leah, Kingbathmat, The Fierce and the Dead, Fractal Mirror, Days Between Stations, and Nosound.
And, there’s still so much to think about for 2013. What about Sam Healy (SAND), Mike Kershaw, Haken, Francisco Rafert, Ollocs,and Sky Architects? Brilliant overload, and I very much look forward to the immersion that awaits.
No one will be shocked by my final 2 of the 11 that have yet to be mentioned. If you’ve looked at all at progarchy, you know that I can’t say negative things about either of these bands . . . or of Rush or of Talk Talk. Granted, I’m smitten. But, I hope you’ll agree that I’m smitten for some very specific and justified reasons. That is, please don’t dismiss the following, just because I’ve praised them beyond what any reasonable Stoic with any real self respect would expect. No restraint with these two, however. Admittedly.
So, let me make my huge, huge claim. The following two releases are not just great for 2013, they are all-time great, great for prog, great for rock, great for music. In his under appreciated book, NOT AS GOOD AS THE BOOK, Andy Tillison offers a very interesting take on the current movement (3rd wave) of progressive rock.
The current, or third wave of new progressive rock bands is as interesting for demographic and social reasons as much as for its music . . . . Suddenly a wave of people in their late thirties began to form progressive rock bands, which in itself is interesting because new bands are formed by younger people. . . .
I’m not sure how much I agree with Andy regarding this. I’m also not sure I disagree. I just know that I’ve always judged eras or periods by what releases seem to have best represented those eras. Highly subjective, highly personal, and highly confessional, I admit. But, I can’t escape it. For me, there have been roughly four periods: the period around Close to the Edge and Selling England by the Pound; the period around The Colour of Spring, Spirit of Eden, and Laughing Stock; a little bit longer—or more stretched out—period around Brave, The Light, Space Revolver; and Lex Rex.
Of course, I’ve only listed three. We’re passing through the fourth as I type this. Indeed, the fourth is coming from my speakers as I type this. Over the last year and a half some extraordinary (I’m trying to use this word in its purest sense) things have happened, all in England and around, apparently, some kind of conflicted twins.
When asked about why he participated in latest release from The Tangent, Big Big Train’s singer, David Longdon, replied:
Amusingly, [Tillison] has said that The Tangent is Big Big Train’s evil twin.
In this annus mirabilis, does this mean we have to choose the good and the evil? Plato (sorry; I’m not trying to be pretentious, but I did just finish my 15th year of teaching western civilization to first-year college students. And, I like Plato.) helped define the virtue of prudence: the ability to discern good from evil.
Well, thank the Celestial King of the Platonic Realm of the Eternal Good, True, and Beautiful, we get both, and we don’t have to feel guilty or go to Confession.
Aside from being the Cain and Abel of prog, The Tangent and Big Big Train offer the overall music world three vital things and always in abundance of quality.
First, each group is smart, intelligent, and insightful. Neither group panders. The music is fresh, the lyrics insightful—every aspect is full of mystery and awe. The listener comes away dazzled, intrigued, curious, and satisfied, all at the same time.
Second, each group strives for excellence in every aspect of the release—from the writing, to the performing, to the engineering, to the mastering, to the packaging. And, equally important, to interaction with fans. Who doesn’t expect an encouraging word and some interesting insight on art, history, and politics—always with integrity—from either band?
As maybe point 2.5 or, at least, the culmination of the first two points, each band has the confidence to embrace the label of prog and to embrace the inheritance it entails without being encumbered by it.
In Big Big Train’s English Electric Full Power, there are hints of Genesis and, equally, hints of The Colour of Spring and Spirit of Eden. But, of course, in the end, it’s always Greg, Andy, David, Dave, Danny, Nick, and Rob.
In The Tangent’s Le Sacre du Travail, there are obvious references as well as hints to Moving Pictures, The Sound of Music, and The Final Cut. But, of course, in the end, it’s always mostly Andy.
Regardless, each gives us what David Elliott masterfully calls “Bloody Prog™” and does so without hesitation. Indeed, each offers it without embarrassment or diversion, but with solidity of soul and mind.
Finally, but intimately related to the first two, each band releases things not with the expectation of conformity or uniformity or propaganda, but with full-blown art. Each band loves the art for the sake of the art, while never failing to recognize that art must have a context and an audience. Not to pander to, of course, but to meet, to leaven.
Life is simply too short not to praise where praise is due. Life is too short to ignore the beauty in front of us. And, no matter how dreary this world of insanities, of blood thirsty ideologies, of vague nihilisms, and of corporate cronyism, let us—with Plato—love what we ought to love.
The Tangent and Big Big Train have given us art not just for the immediate consumption of it, or for the year, 2013,—but for a generation and, if so worthy, for several generations, perhaps uncounted because uncountable.
[Ed. note–if there are any typos in this post, I apologize. I’ve been grading finals, and I’ve been holding my two-year old daughter on my lap. She’s a bit more into Barney than Tillison or Spawton at this point.]
Set in stone. Chiseled, carved, done. Or, at the very least, set in digital stone.
For the ever-growing number of Big Big Train devotees (now, called “Passengers” at the official Facebook BBT page, administered by everyone’s most huggable rugged handsome non-axe wielding, non-berserker Viking, Tobbe Janson), questions have been raised and discussed as to how BBT might successfully combine and meld English Electric 1 with 2 plus add 4 new songs.
How would they do it with what they’re calling English Electric Full Power? Would they make it all more of a story? Would the album become a full-blown concept with this final version? Where might Uncle Jack, his dog, or the curator stand at the end of the album? Actually, where do they stand in eternity?
The members of BBT have already stated that EE as a whole calls to mind–at least with a minimum of interpretation–the dignity of labor. Would the new ordering and the four new songs augment or detract from this noble theme?
Somewhat presumptuously, many of us Passengers proposed what we believed should be the track order, and I even took it upon myself to email Greg last spring with a list. Well, I am from Kansas, and we’re not known for being timid–look at that freak, Carrie Nation, who dedicated her life to hacking kegs and stills to bits, or to that well-intentioned but dehumanizing terrorist, John Brown, who cut the heads off of unsuspecting German immigrants.
And, then, there’s the fact, for those who know me, that I can produce track lists like I can produce kids. No planning and lots and lots of results.
Or, that other pesky fact, that I’m so far into BBT that I could never even pretend objectivity. [Or, as one angry young man wrote to me after I praised The Tangent, “your head is so far up Andy’s @ss, you can’t even see sunlight.” Cool!; who wants to spend tons of time writing and thinking about things one doesn’t like? Not me! As Plato said, love what you love and hate what you hate, and be willing to state both. Guess what? I love BBT and The Tangent! And, just for the record, I’ve never even met Andy in person, so what was suggested is simply physically impossible.]
Admittedly, maybe I’m such such a fanboy that I’ve gone past subjective and into some kind of bizarre objectivity. You know, in the way Coleridge was so heretical that he approached orthodoxy. Or, maybe I’m just hoping that Greg and Co. will ask me to write the retrospective liner notes for the 20th anniversary release of EE Full Power. I’ll only be 66 then. Who knows? Even if I’m in the happy hunting grounds (I’m REALLY presuming now), I could ask the leader for some earth time. . . .
If you’ve read my bloviations this far, and you’re still interested in my thoughts on English Electric Full Volume, well, God bless you. A real editor would have removed the above rather quickly.
Back from the Blessed Isles of soulful prog realms. . . .
In my reviews of English Electric 1 and 2, I stated that these albums were the height of prog music perfection, the Selling England By the Pound of our day. I wouldn’t hesitate to proclaim this again and, perhaps, even more vocally and with more descriptives.
At the risk of turning off some of my friends, I would say that EEFP is even superior to its 1973 counterpart. How could it not be, really? Selling England is now an intimate and vital part of the prog and the rock music traditions, and it has been for forty years. Add that album and hundreds of others to the integrity, dedication,and purposeful intelligence, imagination, and talents of Greg Spawton, David Longdon, Andy Poole, Dave Gregory, Nick d’Virgilio, Danny Manners, and Rob Aubrey. Putting all of this together, well, of course, you’d demand genius.
You’d expect genius.
And, you’d be correct.
It’s the height of justice that Jerry Ewing of PROG awarded Big Big Train with the Prog Magazine Breakthrough Award.
That breakthrough started with that meaningful paean to British and western patriotism in Gathering Speed, reached toward sublime spheres in The Difference Machine, found a form of edenic Edenic perfection in The Underfall Yard and Far Skies (it’s hard for me to separate these two albums for some reason), and then embraced transcendent perfection in English Electric 1 and 2. Each member who has joined the original Greg and Andy has only added to the latest albums. Nick, the perfectionist drummer; Dave, the perfectionist guitarist; Danny, the perfectionist keyboardist; Rob, the audiophile. And by perfectionist, I don’t mean it in its modern usage, as without flaw, but rather as each having reached his purpose.
I don’t think this point can be stressed enough: these guys are perfectionist NOT against each other but with, around, near, above, and below each other. They are a unit of playful perfectionist individuals who become MORE individual, not less, in their community.
Looking at the history of art from even a quasi-detached and objective viewpoint, I think we all have to admit, this is more than a bit unusual.
Breakthrough, indeed, Mr. Ewing. Breakthrough, indeed.
Greg and Andy don’t become less Greg and Andy as the band grows beyond what they have founded, they become more Greg and more Andy. In the first and second wave of prog, how many bands are known for only getting better and better with each album? Those that did are certainly the exceptions. One of the most important differences of this third wave of prog is that the best only get better, even after twenty years of playing. Exhaustion and writers-block seem to be of another era.
BBT exemplifies this trend of improvement in this movement we now call the third wave of prog. And, not surprisingly, when BBT asks artists to guest with them, they invite those with similar trajectories–Andy Tillison and Robin Armstrong to name the most obvious.
Again, if you’ve made it this far in this review, you should be asking–hey, Birzer left out David Longdon above, what the schnikees?
Yes, I did. So, let me now praise famous Davids (with apologies to Sirach). I’ve not been shy in past writings (well, over the last four years) to note that I believe David is the finest singer in the rock world at the moment. He has some rather stiff competition, of course, and I reject the notion that he sounds just like “Phil Collins.”
No, David is his own man and his own singer. I do love and appreciate the quality of David’s tone and voice. He possesses a beautiful and talented natural one, to be sure. Nature or God (pick your theology) gave this to David in abundance, and he’s used his own drive and tenacity to bring his voice to the height of his profession.
But, what I love most about David is that he means every single thing he sings. These aren’t “Yeah, baby, let’s do it” lyrics. These are the lyrics of a bard (Greg’s lyrics are just as excellent, of course, as I’ve noted in a number of other articles; these are two of my favorite lyricists of the rock era–rivaling even Mark Hollis).
Longdon can make me as happy as one of my kids running to the playground on the first day the snow thaws (“Let’s Make Some Noise”); he can make me want to beat the living snot out of a child abuser (“ABoy in Darkness”); and he can make me want to start a novena for a butterfly curator.
In no small part, Longdon has a voice that makes me want to trust and follow him.
Put David and Greg together, and their lyrical abilities really knows no known bounds. They are the best writing team, to me, in the last fifty years. I know most would pick Lennon/McCartney, but I’m a firm believer that “electrical storms moving out to sea” trump “I am the walrus.”
So, what about this third manifestation of English Electric, English Electric Full Power? Well, all I can state with some paradoxical certainty, Spawton, Longdon, and five others, have now shown it is possible to perfect perfection. I’ll use perfect here in its proper sense: not as without flaw (though that would apply as well) but as having reached its ultimate purpose, as I noted above.
EEFP is still very much about the dignity of labor, and, as such, it has to deal with the dignity of the laborer, that is, the fundamental character of the human person in all of his or her stages.
The song order of EEFP, consequently, follows this natural logic.
The opening track, a new one penned by Longdon, celebrates the joys of innocence. David has said it was his goal to invoke the glam rock of his childhood. For me, it invokes the rock of my mother’s college days. A shimmering, pre-Rolling Stones rock.
The video that the band released just makes me smile every time I watch it. The video also confirms my belief that these six (and Rob, the seventh member) really, really like each other.
Rather gloriously, “Make Some Noise” fades into one of the heroic of BBT tracks, “The First Rebreather.” This makes “The First Rebreather” even better, especially when contrasted with the innocence of track one. After all, in The First Rebreather, the hero encounters beings from Dante’s Fifth Circle of Hell (wrath).
The second new song, “Seen Better Days,” begins with a strong post-rock (read: Colour of Spring) feel, before breaking into a gorgeous jazz (more Brubeck than Davis) rock song. All of the instruments blend together rather intimately, and David sings about the founders and maintainers of early to mid 20th century British laboring towns, while lamenting the lost “power and the glory” as that old world as faded almost beyond memory. The interplay of the piano and flute is especially effective.
The third track, “Edgelands,” begins immediately upon the end of “Seen Better Days,” but it’s short. Only 86 seconds long and purely a Manner’s piano tune, it connects “Seen Better Days” with “Summoned by the Bells.” If at the end of those 86 seconds the listener doesn’t realize the creative talents of Mr. Manners, he’s not thinking correctly.
The fourth new track, “The Lovers,” appears on disk two, after “Winchester” and before “Leopards.” The most traditionally romantic and folkish song of the four new ones, Longdon’s voice has a very “Canterbury” feel on this tune, and the tune provides a number of surprises in the various directions it takes.
What’s next for BBT?
Thanks to the delights of social networking, we know that Danny’s kids are concerned that he doesn’t look “rock” enough (he needs to show them some Peter Gabriel videos from Gabriel’s last studio album), and we know that Greg’s middle name is Mark.
Ok, yes, I’m being silly (though all of the above is true).
We do know that Big Big Train is working on a retrospective of their history, but with the current lineup. I don’t think any of us need worry that this (Station Masters) will be some kind of EMI Picasso-esque deconstruction of Talk Talk with a “History Revisited: The Remixes.” Station Masters will be as tasteful, elegant, and becoming as we would expect from Greg and Co.
After that, we know that BBT is writing a full-fledged concept album, their first since The Difference Machine. We know that the boys are in the studio at the very moment that I’m typing this (NDV included).
Perhaps most importantly, though, we trust and have faith that Greg and Co. are leading progressive rock in every way, shape, or form. EEFP is the final version of EE. At least for now. But, BBT is not just breaking through, it’s bringing a vast audience, sensibility, and leadership to the entire third movement of prog. And, for this, I give thanks. Immense thanks.
When it comes to BBT, perfection only gets more interesting.
An exclusive interview with Greg Spawton of Big Big Train. Interview by progarchy editor, Brad Birzer. [N.B. I was going to write a longish introduction, but I’ll do that with the review of EEFP I’ll have up in the next day or two.]
Progarchy: Hello, again, Greg. I’m so glad you continue to be so generous with your time, and I’m deeply honored to have you do yet another interview with me. The order of the songs, BBT EE+4, is now set. In stone! How did you arrive at this ordering? I would guess you agonized over this, individually and as a group?
Greg Spawton: Thanks, Brad. We had four new tracks to accommodate and a listening experience as a long double album (as opposed to two single albums) to create and so there was a lot of discussion and consideration of various options. I wanted to create mini-suites out of some of the tracks with linked themes and that helped a bit as it drew some of the songs together. So, we had the Edgelands sequence of Seen Better Days / Edgelands / Summoned By Bells and the love-songs sequence with Winchester From St Giles’ Hill / The Lovers / Leopards and Keeper of Abbeys. Once those two sets of songs were in place it became easier to work the other tracks around them.
Progarchy: Do you see EEFP as a fundamentally different release from EE1 or EE2, or is it a fulfillment of the first two releases? A sort of baptism or sanctification?
Spawton: It’s a bit of both. Completists are likely to buy EEFLP even if they already own EE1 and EE2 and so we felt an obligation to create something new and different rather than just stick four new tracks on the end. But it also seems to have drawn all the threads together and, for us, it’s the ultimate expression of our work in this period of the band.
Progarchy: A followup, considering track order. You start with the very 1950s and 1960s rockabilly-ish “Make Some Noise,” but you end the entire collection with the–as I interpret the lyrics–suicide of the curator. Is this intentional?
Spawton: We knew those two songs had to be the bookends. Curator of Butterflies is not a song about suicide, although I can see why many people interpret it that way. It’s actually about life from the perspective of growing older. Now I’ve reached middle-age, I have a much greater awareness of how fragile life is. With my family and my good friends I find that awareness very burdensome. At home, I’m surrounded by teenagers and their take on life is entirely different. It’s fearless, they feel indestructible, they feel they have all the time in the world, whereas I sit back and wonder: ‘where did all the time go’? In Make Some Noise David captures the feelings of being young and full of hope and of dreams so we felt that had to be the opening statement. And as we had song from the perspective of an older person in Curator of Butterflies, it seemed right to put that one at the other end of the album.
Progarchy: Is the whole album, EEFP, still an album dealing with the dignity of labor, in all of its various forms?
Spawton: In old money, EEFLP is a triple album so there is room on there to explore a lot of different themes. One of the main themes of the album is about the dignity of labour. There have been major social changes in parts of Britain in the last 50 years and some communities in areas that used to rely almost solely on employment from the mines or docks or from heavy industry have lost their way because that employment has gone. I am not being nostalgic about this; I am well aware that those industries were very tough places to work. I spent a few minutes down a Victorian drift-mine recently and I cannot imagine what it would have been like to work a shift down there. However, what these industries did bring was a sense of pride in working hard and of the potential of communal endeavour. The loss of these things has been catastrophic for some communities.
Progarchy: Now that you’re done with EE–really three releases overall–how do you see your work with EE? That is, where does it fit in the history of BBT (besides, being the most recent thing)? How do you see it in the history of prog?
Spawton: If the band carries on in its current trajectory, we’re likely to end up selling about 30,000 copies of all of the EE albums. In the context of the huge 70’s progressive bands that is a tiny amount and we are only too aware that it can never have the sort of impact that Selling England by the Pound or Close to the Edge had. Having said that, it’s been a sequence of releases which has, I think, shown us at our best and has helped us to reach a wider audience and to get played on national radio in the UK. We’ve also grown as a band during the making of the albums. We are closer together as a unit and know what we can achieve. Danny has come onboard as keyboard player and has added a considerable amount to our sound. We’ve been able to work with a string quartet as well as the brass band and have been able to collaborate with some fabulous musicians and arrangers. And we are very pleased that we have been able to put together a release of 19 songs without any of them being there just to fill some space. Some songs are better than others, inevitably, but all have something to say and will, we hope, offer something to listeners.
Progarchy: A number of the new tracks reflect some really interesting influences, at least as I hear them. “Make Some Noise” seems very innocent and joyful, perhaps a pre-Byrds type of rock, the rock my mother danced to in college. “Seen Better Days” seems very Mark Hollis/Talk Talkish and then very jazzy. “Edgelands” again has a Talk Talkish feel. But, so very jazzy–an impressionistic jazz of the second half of the 1950s. “The Lovers” is proggy in a Canterbury, dramatic kind of way. Am I reaching, or were these influences intentional?
Spawton: I wouldn’t argue with any of those. We’re all fans of Talk Talk and the Canterbury scene. Influences are not something we think about during the creative process, though. I’d be a bit resistant to the idea of deliberately writing a song in the style of another band. For us, it’s an organic process of writing, arranging and performing. Influences often operate in a subliminal way and the writer may be unaware of how the listener will experience the songs.
Progarchy: The blending of songs into one another harkens back to The Difference Machine, and you’ve mentioned in a recent interview that your next studio album will be a concept album. Are you and BBT making a statement about where prog should be going with any of these decisions, or are you just taking your art as you feel so moved at the moment of creation?
Spawton: Honestly? We just write. Sometimes that is with something in mind (for example, where we need a song with a particular sound to help make a balanced album) but often it’s just what comes into our heads and falls under our fingers.
Progarchy: You’ve put so much into the booklet that accompanies EEFP. How much of the total art do you see in the packaging, the graphics, the photography. That is, how important is it to peruse the booklet rather than simply download the four new songs? We all lament the loss of the album sleeve, but you seem to have found away to recapture that glory. Again, was the booklet a group project, or did you work on this individually?
Spawton: Andy and Matt Sefton must take most of the credit for the overall design. Once we’d found Matt’s remarkable photos and he’d agreed to work with us, Andy was able to develop the overall shape of things using Matt’s images as the basis. The design of the packaging which carries our music is very important to us. Music is, of course, our primary concern and I have no problem with downloads. However, many people still prefer to experience music by purchasing physical releases and we put a huge amount of thought into making those items things of beauty and interest. Luckily, we found, in Chris Topham, a chap with a similar attention to detail for our vinyl releases and so we have worked with Chris and Plane Groovy to try to recapture the glory of the gatefold album cover.
Progarchy: A followup to the above question: you spend a significant part of the book honoring those that/who came before. As a historian, I love this. Again, how did you decide to do this? From my perspective, you’re tying in your work (adding all of those who contribute to BBT directly) with a whole lineage of English history and art. Any thoughts on the necessity and importance of this?
Spawton: I have been fascinated by history since I was a young child. In the 70’s, we had these beautifully-produced children’s books called Ladybird books in Britain and they were a big part of my early childhood. Looking back, they had a particular view of the world which wasn’t very nuanced (for example, the Roundheads were the goodies and the Cavaliers were the baddies) but they were spellbinding books with lovely artwork and they seemed to be able to transport me into those historic periods. As the band was developing I started to experiment with telling historical stories in the songs. Really, I think I’m just a frustrated historian without the outlet to write books so I used the ‘voice’ that I did have. I also began to become more aware of folk-music and that stories can be smaller and close to home and be just as interesting for people. And it’s the fact that the listeners are interested in these stories that has spurred me on. We get suggestions of stories sent to us now and there are so many interesting tales.
Progarchy: Again, somewhat related, it’s a stroke of genius to tie this release into the work–sadly, often forgotten or poorly remembered–of The Dukes of Stratosphear. Just how did you come to work with one of its members?
Spawton: When I got to know Dave Gregory I realised that he knew just about everybody in the music business. When we were working on The Lovers, David and Dave wanted the fusion section to be quite spacey and psychedelic and so we ended up asking Dave if he would mind giving Lord Cornelius Plum a call. Lord Plum hasn’t really been involved in music since The Dukes split up and we were delighted that he wanted to play a solo for us, albeit he insisted on playing the guitar backwards. I have to say, he’s still got the chops. He plays backwards guitar a lot better than I can play in the forward direction.
Progarchy: As you know, your fan base (getting larger, deservedly, by the moment!) craves knowledge about the future of BBT. Can you talk about how you plan to perform live? Where? With whom? When? What setlist (not exact, of course–no spoilers!)? Will Rob travel with you?
Spawton: Our live sound will be done by Rob, no question about that. We’re slowly gearing up for some live shows but we know that it requires careful planning. One of the things we are adamant about is that a live show will be an attempt to convey the whole BBT sound with brass and string sections. That is a complicated set-up and requires a fair bit of rehearsal. We’ve chosen Real World as a large studio environment which can accommodate us all and we are going to spend a week there next year working songs through and ironing out any live issues. The setlist will mainly feature songs from The Underfall Yard and English Electric, although we may also do some earlier songs. We’re going to film the rehearsals as that is a good way of recording a live set without the controlled chaos of being on stage. After Real World we’ll be looking to play a small number of shows and I think that we will then aim to play a handful of gigs every year. Just occasionally, progressive bands manage to crossover into a much broader audience (Steve Wilson being the best example) and, of course, if that happens then perhaps we can aim to tour more extensively. I think that is unlikely though and the main thing for us is not to try to put anything on that ends up losing a lot of money which could put the band’s finances out of kilter.
Progarchy: A followup. What about your future albums? Station Masters is coming in 2014. What about the next studio album? Can you tell us anything about it?
Spawton: Most of the next studio album is written and recording is under way. Nick is in England in late September so we’ll get another couple of days of drum recording done then. We may also do some recording at Real World. As you mentioned, it is a concept album with a story which David has been developing. It is not English Electric Part Three and it will be a little different but we are very excited about it. In the meantime, Station Masters is slowly moving forward and we aim for that to be a beautiful release.
Progarchy: What are the members of BBT listening to right now? If you could praise some current music, what would you praise? Or, any recent discoveries of older music? What about books? Anything that’s really grabbed your attention recently?
Spawton: There is so much great progressive music about at the moment and we have heard a number of excellent new releases so far this year. The nice thing is that we don’t feel in competition with anybody. There is a good feeling in progressive rock of us all being in it together, the bands and the listeners. Recently, I’ve had some fun working my way back though some of the classic 70’s albums and in the last few weeks I’ve been listening to a lot of Van Der Graaf Generator and PFM. I am looking forward to new music from Mew, Elbow and I have just bought the new Sigur Ros album. As for books, at the moment, I’m reading The Norman Conquest by Marc Morris and Britain Begins by Barry Cunliffe. And I’ve been reading a very interesting biography of Pink Floyd by Mark Blake. The book that has made the most impact on me in the last year was Working Lives by David Hall.
Progarchy: Again, Greg, thank you so much for your time. It’s always a pleasure.
Spawton: Thank you, Brad.
Wait. Did you just miss that link? Here it is again:
I’ve been in love with a band called Big Big Train since late 2011. It was very many years since I got so moved by music as I have been by the music of BBT. Many great posts have been published here at Progarchy about the music and lyrics from the pens of David Longdon and Greg Spawton. So now it’s my pleasure to here in my blog premiere make a little detour to the world of birds… Why, you may think, is that? Well for starters I couldn’t add much new to what’s already been said about the themes in the music and lyrics and then I’m a birdlover and have been so delighted by the use of birds in the lyrics and even in songtitles (Brambling). It’s apparent that the songwriters are quite familiar with some of the common birds in Britain (they’re also common in Sweden. I mean the fantastic Hedgehoppers’ Chorus line where blackbird, redwing, song thrush and yellowhammer are mentioned is something that I can connect to as well. Those are birds that are typical for the Swedish countryside too. And they are all birds that signal springtime by letting us enjoy their melodic songlines from March onwards until Midsummer or something.
The thing that distinguishes Big Big Train from many other bands and artists is that they not only use the general expression “birds” in the lyrics but actual names of real species. You also find the partridge in the lyrics on Uncle Jack and Hedgerow. This precise way of describing what kinds of birds that inhabit their lyrical landscapes is something that put Big Big Train in the same league as literary giants such as our very own (Swedish giant) August Strindberg who was a keen naturalist and knew much about birds and plants. In his novels you always find the names of actual species as well, not only the general terms “birds” and “flowers” for instance. This way of namedropping species adds much to the feel of a very alive lyrical landscape within the musical landscape that is Big Big Trains. And for me who know what all those different birds look like, when they can be expected to come back from their winter quarters, when they start singing and also what they sound like when they do it, the picture widens and gets deeper colours so to speak.
So is birds in music a novelty then? Of course not. We all remember the second movement of Beethoven’s Pastoral Symphony (No. 6) where several birds lend their voices to the great master’s musical creativeness. There we can hear the nightingale, the quail and also the cuckoo. Within the bird theme Big Big Train also connect in a very fine way with Vaughan Williams. How is that? Well, Mr Williams wrote that absolutely wonderful piece of music called The Lark Ascending which makes us think about the eighties masterpiece Skylarking by the wonderful band XTC whose guitarist Dave Gregory nowadays as we all know resides in…Big Big Train. Skylarking is by the way such a fantastic album title. For me the word skylarking doesn’t actually mean what it’s supposed to mean (playing boisterously or to sport or something like that) but to lie flat on the back in the sun on a green meadow watching the skylark hanging there on its invisible string singing its heart out about spring, love and joy underneath the deep-blue dome….but that’s a meaning I’ve made up all by myself. But the music of Big Big Train’s always makes me want to go skylarking – in my meaning of the word.
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)
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.
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.)]