Category: Big Big Train

Rick’s Quick Takes for February ( Levels, Likes, Loves, Leads – and Nightwhales?)

On By kruekuttIn art rock, avant-garde, Big Big Train, Industrial, Insideout Music, Kscope, post punk, progressive metal, progressive rock, thrash metalLeave a comment

2024 is out of the gate hot — three of the albums below are already on my Year-End Favorites list, and there are no duds in this bunch! As usual, purchase links are embedded in the artist/title listing, with a partial or complete streaming preview below the review.

Anchor and Burden, Extinction Level: MoonJune Music mainman Leonardo Pavkovic has labelled this brutal beauty “uncompromising progressive avantgarde doom-jazz post-metal”. That pretty much covers it! Kicking off with opener “Fractured Self” and “Body Expansion”, touch guitarists Markus Reuter and Alexander Dowerk spend the next hour launching knife-edged slabs of sonic concrete into sub-orbit; drummer Asaf Sirkis pulverizes any semblance of a steady beat into terrifying quick marches (“Mutual Assured Destruction”), hyperactive polyrhythms (“Nine Gates to Dominion”), or just lethal, unanticipated deadfalls; and electronics wizard Bernhard Wöstheinrich provides both breathing space for a comedown, as on the closing “The Crust of This Earth”, and crash pads for droning, sludgy guitar plunges throughout the extended title track. Absolutely bonkers, already a favorite; you may have to be in the right mood for it, but Extinction Level’s free-for-all improv (not far removed from King Crimson’s outer limits) turns out to be a heady, head-banging good time.

The Bardic Depths, What We Really Like in Stories (released March 7): both more direct and more varied than their previous releases, TBD’s third is a first-class album that delivers generously on its title’s promises. Brad Birzer’s graceful lyrics effortlessly transport us into the minds of creators as diverse as Ray Bradbury (“You’ve Written Poetry, My Boy”), Willa Cather (“Old Delights”) and Robert E. Howard (“The Feast Is Over”) — then into the creations themselves (the Orwellian dystopia of “Vendetta”, the postapocalyptic “Stillpoint”, the high adventure of “Whispers in Space”). In turn, Dave Bandana and Gareth Cole’s compositions are appealingly streamlined, giving Cole’s guitars, Bandana’s guitars & synths and Peter Jones’ keys & saxophones plenty of room to shine but never straying into aimless jams. Add a warm vocal blend from the quartet (with Jones and Bandana at the forefront) to Tim Gehrt’s steady, sparkling grooves, and you have a prog album that’s accessible without compromise, thought-provoking without pretension. This one’s charms might sneak up on you, but repeated listens will thoroughly repay your kind attention. (Check out our Bardic Depths roundtable here.)

Big Big Train, The Likes of Us (released March 1): the wonder here isn’t that indefatigable founder Greg Spawton and his international crew have regrouped with such power and panache; it’s that they’ve tackled the struggles and sorrows of recent years head-on, forging them into the band’s most direct, integrated album since Grimspound. From mission statement/overture “Light Left in the Day” through epics “Between the Masts” and “Miramare” to killer ballad “Love’s Light” and finale “Last Eleven”, new singer Alberto Bravin fares forward into the unknown, summoning the essence of friendship and the pain of loss, calling on all in earshot to seize the day. There’s tons of musical variety, too, from the hard-rocking “Oblivion” to the playful “Skates On” and the 12-string weave of “Bookmarks”, with all seven players (five of whom sing) each getting their time to shine. And yes, that brass section pops in at just the right moments, to bring a tear to the eye or lift the spirit as required. Familiar yet fresh, and destined for that year-end faves list, BBT fans can be well satisfied with this latest excursion – and The Likes of Us is well turned out to welcome new Passengers onboard as well! (Check out our interview with Alberto Bravin here.)

Steve Hackett, The Circus and the Nightwhale: Prepare to have your ears pinned back here: Hackett leaps out of the gate with freshly energized songwriting and ferocious guitar work and doesn’t let up throughout this compact, compellingly listenable concept album. The restless opening sprint of “People of the Smoke”, the “Squonk”-like stomp of “Taking You Down” (with standout lead vocal by Nad Sylvan and towering sax from Rob Townsend), the lush orchestral interlude “These Passing Clouds” are all full to bursting with devastatingly melodic, wildly spraying six-string excursions from Steve; even lighter tracks like the harmonious “Enter the Ring” and luxuriant 12-string centerpiece “Ghost Moon and Living Love” overflow with prime solo licks, mind-melting and heart-gripping in equal measure. Add Roger King’s richly scenic keyboards to a succession of marvelously eclectic tunes that waste no time and a coming-of-age narrative that climbs from the gutter to the stars (braced with a dose of the marvelous — there’s that Nightwhale, after all). And voila! You’ve got a Hackett opus that immediately goes to the 2024 favorites list, ranking right up there with Spectral Mornings, At the Edge of Light or whichever of his 30 solo efforts you prefer best.

No-Man, Housekeeping – The OLI Years, 1990-1994: Ben Coleman, Tim Bowness and Steven Wilson’s earliest singles for One Little Indian (oops, Independent), “Days in the Trees” and Donovan’s “Colours”, are the perfect sneak peek/summation of this compilation’s garishly romantic delights. Just as you start thinking “ho hum, fey indie Nineties dance-pop”, the heavens – or are they the abysses? – open, accompanied by lush squalls of immaculately recorded dissonance. As if Roxy Music and ABC had somehow wound up co-headlining a vaudeville show, Bowness’ desperate vocals and Coleman’s slashing violin work match up swoon for swoon, while Wilson toughens the grooves and hoists ambitious synthesized backdrops, colorful splatters of guitar punctuating the aching pantomimes all the while. Containing the first two No-Man albums (the singles-oriented Loveblows and Lovecries and the ravishing, guest-heavy Flowermouth) plus the early EP Lovesighs, a singles disc and radio sessions, Housekeeping is a generously filled, beautifully designed boxset that points unerringly toward Bowness and Wilson’s more mature achievements (whether together or apart), but is also thoroughly listenable and intriguing in its own right.

The Pineapple Thief, It Leads to This: more badass guitar loops and riffs (spaghetti westerns and surf music entwined in a Steve Reich soundscape); more bleak musings on our pervasive inability to connect, crooned with Bruce Soord’s trademark tenderness and fury; more moments of tasty, laterally-inflected drumming from Gavin Harrison. The current edition of the Thief’s fourth studio album is its own self-contained world, set in motion by the Soord/Harrison team’s moody interplay and rotating on Jon Sykes and Steve Kitch’s steady axis; undeniably of a piece with their recent catalog, and all the better for it. If none of the eight songs particularly stand out, they’re all honed to sleek perfection, building through seductive, bracing miasmas of dread and determined pursuits of flickering light to the knockout punch of the last two tracks. Whatever nightmare Soord is sleepwalking through, his eyes and heart are wide open as he edges forward, with Sykes, Kitch and Harrison urging him on all the while. (Soord’s recent “unplugged” solo CD/DVD, the already out-of-print Caught in the Hum, is an even more distilled example of this melancholy, coolly yearning aesthetic.)

— Rick Krueger

Big Big Train’s Alberto Bravin: The Progarchy Interview

On By kruekuttIn Big Big Train, Insideout Music, progressive rockLeave a comment

March 1st will see multiple firsts for Progarchy faves Big Big Train: the release of their impressive major label debut on Inside Out/Sony, The Likes of Us, and the sold-out opening night of their long-delayed US tour at Fort Wayne, Indiana’s Sweetwater Performance Theater. Alongside founder/bassist Greg Spawton and the rest of BBT’s international lineup, lead singer/multi-instrumentalist Alberto Bravin will spend the first half of the month barnstorming from Indiana to New Jersey, Boston and Buffalo, winding up onboard progressive rock’s annual floating festival, Cruise To The Edge.

While this will be Alberto’s first stateside jaunt with the band, he’s definitely paid his dues with BBT; since joining up, he’s toured Europe with them in 2022 and 2023, as well as collaboratively writing and recording The Likes of Us at his homebase of Trieste, Italy. When I spoke with him earlier this month, Alberto was candid about the challenges involved integrating into Big Big Train following previous singer David Longdon’s passing, but also grateful for his reception by the band (and its devoted fans, the Passengers) and unquenchably enthusiastic about the new album and the coming tour! Our video conversation is immediately below, with a transcript following.

So my first question is kind of a softball: what does it feel like to be the lead singer in Big Big Train?

It’s a great situation, musically and also personally, from a human point of view.  Because it’s a great band with great people in it!  It’s a really, really, really great honor to be the lead singer and be part of this family, actually.  It’s two years [since] I joined the band, and I can call it family, because there are really great relationships inside the band and between us.  So, this is great!

That’s lovely to hear; I’m so pleased.  Going back those two years, when Greg Spawton and the band’s management reached out to you, what was your first reaction?

Well, I didn’t expect that, actually; it was completely out of the blue!  Greg saw me with PFM in 2015 and he just wrote down my name at the time.  Then I was in a list of people to audition.  He wrote me an email and he asked me if I was aware of the band – and of course, I was aware of the band [laughs]; I was a fan!  I knew what happened and everything. 

And it was just a great honor to do the audition, and I didn’t have big expectation from that.  It was just, “Alright, let’s try; let’s have the opportunity; let’s sing as best as I can.  Let’s have fun, actually, and enjoy the situation.”  I didn’t expect to become the singer, [laughs] actually!

Backtracking, how did you first hear of Big Big Train, that you became a fan?

I remember I was in Japan with PFM; I was in the Tower Records in Tokyo.  And there was a Japanese newspaper with a photo of PFM, because we were playing there.  So, I just got the newspaper, and inside there was a photo of, I think it was Grimspound; that was the album.  And just the cover — I said, “Whoa, this is a cool cover – I need to dig deeper on this band!”  And I fell in love with it.

The main reason is that Big Big Train always had great songs, I think.  They are in the progressive world, where you have all the instrumental madness or weird time signatures or whatever, but the basic thing of the band are the songs.  They have great melodies; they always had great songs and great lyrics.   So that was the first thing that I really fell in love with.  I’m a Beatles fan, and I love songwriting.  And I could hear the songwriting behind these incredible arrangements, the vocal harmonies and all the keyboards and Mellotrons and 12-string guitars.  The great thing is that most of the songs, you can play them [with just] guitar and vocals, and they still sound like those songs.  That’s the magic there.

That makes a lot of sense, because it was the songs that grabbed me, a little further back before that time.  And I share your Beatles fandom!  So I get where you’re coming from with that.  Now you seem to have had – I read in the tour program, you’ve had a real variety of musical experience before this.  I understand you trained in opera, as well as in modern singing.  And you play multiple instruments; you’ve led your own band; you joined PFM, which definitely has a reputation in the prog world.  So, after those two years you’ve talked about — two tours and time in the studio with Big Big Train — what do you think are the particular strengths you bring that slot in with how you describe this band, this songwriters’ collective, and the music that comes out of it?

I think from day one, me and Greg  – there was chemistry, just human chemistry, and so we started right away.  When they were looking for a singer, they were looking just for a singer, actually.  They didn’t expect to have a songwriter or [laughs] a control freak like I am! [Laughs]  They needed a singer, but they had the whole package here!  And [laughs] now they have to deal with it!

From day one or after a week [that] I was into the band, I was asked if I was writing stuff, and I said, “Well, yeah, I also write songs and musical parts.”  We shared a couple of things, and I think Greg liked it.

We started to really dig into the music and worked together on the music, on the lyrics.  So, I just brought my – it’s not really a style; I mean I don’t have a style! [Laughs] It’s just the vibe or whatever.  But the important thing is that I was a fan of the band.  I know really well the Big Big Train sound, and I don’t want to change that, because it’s a wonderful mood and vibe and color that the band have.  So, I don’t want to change that, but just make it a little bit, maybe – new, my own!  Because I’m into the band and I’m into the songwriting of the band.

Let’s move on to that new album; I’ve been able to hear it a couple of times.  One of the things I’ve noticed; when I saw some interviews with Greg, he said, “This time, it’s personal.” It’s less about third-person storytelling and maybe more about first-person experiences and reflections.  If you’re comfortable, what sort of experiences have you brought from your life that have fed into these songs?

Big Big Train always talked about – not always, but most of the time, they talked about historic facts or legends or people.  This time, actually, it was totally natural; I think we realized that after we finished the album, “Oh, this time it’s really more personal!”  We didn’t think about it!  It wasn’t thought out; it was just a natural thing.

One example: I wrote the song called “Love Is The Light”.  That song is about a dark period that I had, dealing with depression.  So, to actually be able to talk about it and put it in music and those lyrics – it’s a really deep experience, and really helpful! 

We played it live on the last tour; I made the demo of the song, then we recorded it in the studio, and then we rehearsed it for the live situation.  But the first time there was an audience in front of me and we started the song, I just realized that I was playing and singing a really personal thing of my life!  So that just clicked, and I said, [laughs] “Oh, OK; let’s see how it goes!”  And it was an incredible feeling, incredible emotions.  And I think people really, really react on that.  If you feel it in a genuine way, and you know what you’re talking about, I think the audience can feel it too.  Then it’s pretty strong.

I can imagine, especially with the intensity that that band’s audience brings to hearing you guys live.

Oh, yeah; oh, my God!  I mean, the people that we have, it’s actually incredible!  We have people coming to see us in Europe from all over the world.  And they’re coming to the US from Europe to see the gigs!  We have people that came to all the 18 shows that we did last year.  It’s amazing; they are really the foundation of the band!   I mean, without them we can just play in our rooms! [Laughs]

Makes sense.  So, you mentioned “Love Is The Light.”  There are definitely some themes in the music and the lyrics that connect across the songs on The Likes of Us.  You have “Light Left In The Day”, which is kind of an overture.  And some of those themes really go all the way through to “Last Eleven”, which was the first new song that we heard with you singing the lead vocals.  How would you sum up the common threads on this album?

Glad you noticed [laughs] all the themes coming and going during the album!  At one time, we had a couple of songs there – we chose the setlist of the album.  And there was no reprises.  I think “Last Eleven” had the reprise that is on “Beneath The Masts” at the beginning.  At the beginning of “Beneath The Masts” there is a part that is the end section of “Last Eleven”, because it was Greg’s song and he doubled up this kind of thing.

Continue reading “Big Big Train’s Alberto Bravin: The Progarchy Interview” →

Rick’s Quick Takes – The Autumn Report

On By kruekuttIn Big Big Train, Insideout Music, progressive rockLeave a comment

As you can see in the photo above, I’ve drawn a full house of fresh music by artists well known in the Rockin’ Republic of Prog for this hand. (As well as a world-famous joker from another deck.) Unless otherwise noted, title links are to Bandcamp or Spotify for streaming. Where streaming links don’t include them, separate links with purchase options follow each review.

District 97, Stay For The Ending: Another great leap forward for the prog pride of Oak Park, Illinois, D97’s fifth studio album is a shoo-in for my year-end list of favorites. It bursts at the seams with the good stuff – Jim Tashjian’s massive guitar thrash, Andrew Laurence’s neck-snapping synth licks and harmonies, Tim Seisser’s buoyant, bubbling bass work and Jonathan Schang’s exuberant off-center drum grooves. As always, singer Leslie Hunt hits every musical curveball out of the park, her energy and sophistication driving home one breathtaking melodic hook after another. Once the stylish, thrilling title track ropes you in, the eccentric fusion workout “Many New Things”, the Crimsonesque riff-go-round of “Crossover”, the galloping social comment of “Divided We Fall” and the stutter-stepped “Deck Is Stacked” will keep you on the edge of your seat. Can’t recommend this highly enough.

Glass Hammer, Arise: How does ace GH conceptualist Steve Babb follow up on his surprisingly heavy Skallagrim fantasy trilogy? With an even heavier sci-fi concept album, of course! As Babb’s AI-enhanced android protagonist heads for the stars, the spacey invention comes fast and furious; the propulsive kick of “Wolf 339”, droning industrial ballad “Lost” and blues cruise “Proxima Centauri B” all build to a shattering, sludgy apocalypse on the title track. Throughout, multi-instrumentalist Babb and his colleagues (including fellow GH founder Fred Schendel on one track) pile on the dramatic tension, while Hannah Pryor’s vocals vividly trace the turmoil of an intelligence lost in the cosmos – only to be confronted with Someone greater than it bargained for. Dare we hope for a sequel? Order from Glass Hammer’s website.

Dave Kerzner, Heart Land Mines, Vol. 1: After a troika of albums exploring distant worlds in the extended fashion prog fans so love, Kerzner brings it all back home. No, it’s not an original concept: boy meets, loves and loses girl, then drives across country to forget girl while writing songs about the whole mess. But it all happened to Dave back in the 1990s, including the songwriting – which gives this project (the first in a series based on his “songs from the attic”) a real edge and vibrancy. In terms of the music, think less Pink Floyd and Genesis, more Beatles, Steely Dan and Alan Parsons: sturdily constructed, left-field pop, chock full of emotion and color. From the cynical shuffles “Dreaming in LA” and “Dirty Girl” to the heartbreak ballad “Worlds Apart” and beyond, Kerzner gives this music his all, his singing more expressive than ever, his arranging and production even more vivid and intense. With tasty touches galore from his world-class backing band (Fernando Perdomo, Matt Dorsey and Derek Cintron) and special guests, Kerzner has hit my year-end favorites list yet again; on the surface, the first installment of Heart Land Mines (more volumes are promised) might seem less ambitious than New World, Static and The Traveller, but it’s every bit as compelling and delightful. Order various editions from Bandcamp.

David Longdon, Wild River: Music by a younger man than we came to know during Longdon’s time with Big Big Train, his 2004 solo debut reveals both an eclectic sensibility and the level of aspiration you’d expect from a singer ballsy enough to audition for Genesis as Phil Collins’ replacement. The basic vibe is folk-inflected, artsy singer-songwriter, focused on acoustic guitar and fiddle (with a pinch of Pete Townshend’s aggression on the opener “Always”, “Mandy” and “Vertigo”), but even then, Longdon’s range extended to the title song’s R&B shout-out and the darker turns of “This House” and “Joely”. And as the Floydish “Falling Down to Earth” (complete with Mellotron) gives way to the extended metaphor of the finale “On to the Headland,” we hear the sensibility that emerged to tell Greg Spawton’s tales of Old Albion for The Underfall Yard and the English Electric sequence, then seek fresh destinations for Big Big Train before his untimely death. This pristine reissue, remastered by Rob Aubrey, includes a bonus live album with previously unreleased material Order from Burning Shed or The Band Wagon USA.

The Rolling Stones, Hackney Diamonds: You might have heard something about this one; “those British bad boys” (as Bob Dylan referred to them when I heard him in concert last month) are back in the saddle, hedonistic and petulant as ever. Slashing their way across producer Andrew Watt’s dry, tight soundstage, Keith Richards and Ron Wood whip up vigorous, punchy riffs by the dozen (though there’s little room for their classic guitar weave). Meanwhile, Mick Jagger strikes every vocal pose in his repertoire and then some, shouting and moaning what are quite possibly the filthiest lyrics he’s ever written. The whole thing rocks hard, and there’s genuine magic afoot when Bill Wyman and the late Charlie Watts crank up the rhythm on “Live By the Sword”. But ironically, the best moments here come during the collaborations — Paul McCartney powering “Bite My Head Off” with an immense fuzzed bass lick, “Lady Gaga” channeling the early 1970s with Jagger during the gospel-soaked “Sweet Sounds of Heaven”. A respectable showing for the Stones and a fun listen for fans — but how of many of these songs, as cool as they sound, will make the setlist for next year’s inevitable tour? Order from … well, just about everywhere.

Tiger Moth Tales, The Turning Of The World: When Pete Jones stepped back a bit from the keyboard and picked up his acoustic guitar, this more straightforward sequel to 2020’s chamber-prog opus The Whispering of the World was the attractive result. The man’s got a lot on his mind – “revolution, changing technology, life-altering events” – and he doesn’t hold back with his opinions. At his best, Jones’ direct, sensitive reflections on the passing scene cut to the heart, especially on the epic allegory of “The Snail, the Horse and the River” and “We’ll Remember”, an affecting tribute to David Longdon. And if upbeat inspirational songs about life such as “Pass It On” and “Make a Good Sound” lean a bit toward limpid jazz-funk, they quickly pick up energy every time Jones picks up his saxophone and melodica for expressive fills or soaring solo choruses. A change of pace from his recent seasonal albums, it’s always good to hear from a man who truly believes “It’s So Wonderful to Be Alive” — and isn’t shy about reminding us of it! (There’s also a bonus disc available, The Whispering Suite, with outtakes and live versions bridging TMT’s two “World” albums and 2022’s A Song of Spring.)

— Rick Krueger

Rick’s Quick Takes for Summer – Part One

On By kruekuttIn americana, art rock, Big Big Train, blues, country, hard rock, Industrial, pop, post punk, progressive rock, psychedelic rock, punk rock, Rock and Roll, southern rock, thrash metal, vernacular musicLeave a comment

Unless otherwise noted, title links are typically to Bandcamp for streaming and purchasing, or to Spotify for streaming with a additional purchase link where available.

Starting with an obvious choice around these parts: Ingenious Devices proves a winning Big Big Train compilation, featuring Greg Spawton’s life-enhancing explorations of humanity’s drive to expand its reach. Vividly orchestrated reworkings of “East Coast Racer” and “Brooklands” join a remix of Grand Tour’s “Voyager” and a stirring live take of “Atlantic Cable” featuring new lead singer Alberto Bravin; the result is a fresh, vital, thoroughly moving suite of prog epics. Recommended without hesitation!

Southern rockers Drive-By Truckers have also reached back — fleshing out their classic 2004 effort as The Complete Dirty South, the double album they originally conceived. Triple-threat guitarist/songwriters Patterson Hood, Mike Cooley and Jason Isbell reel off tale after compelling tale of characters caught in desperate circumstances, torn between bad choices, clinging to vagrant hopes. Their rampaging hard-rock energy, seasoned with delicate country soul balladry, is what elevates the whole concept beyond haunted fatalism to an intense meditation on courage in the face of overwhelming odds. (Having left the DBTs in 2007, Jason Isbell continues to go from strength to strength. His brand-new effort with The 400 Unit, Weathervanes, brings tons of sharp writing and fiery playing to a clutch of deeply empathetic Americana narratives, topped with irresistible choruses and just a pinch of classic rock a la Bruce, The Byrds and Neil Young. Whatever your take on country music, you really shouldn’t miss either of these.)

Also on the reissue front, Gentle Giant’s 1976 effort Interview now has a spruced-up, punchy remix from Steven Wilson (available here) that breezily clarifies the British quintet’s counterpoint vocals (“Design”), interweaving instrumental lines (the title track, frenetically funky closer “I Lost My Head”) and multistylistic hijinks (the unanticipated reggae chorus of “Give It Back”). The Moody Blues’ second release of 1969, To Our Children’s Children’s Children, becomes their third vintage set to get the multi-disc box treatment – though it’s only available digitally in the US. While the album proper leans toward studio psychedelia laced with wispy slow-dance tunes and the odd cabaret flourish, the bonus live tracks (including a complete set from the Royal Albert Hall) reveal the Moodies as quite the stomping rock outfit, slipping the leash on the album’s single “Gypsy,” the encore “Ride My Seesaw” and core tracks from Days of Future Passed.

Live releases have picked up again as well. For their concert video debut Island Live (available through Magenta’s Tigermoth label), Jem Godfrey’s tech-forward quartet Frost* reap a whirlwind harvest of monumentally proportioned prog. With bassist Nathan King and drummer Craig Blundell anchoring the jumpy polyrhythms, guitarist John Mitchell and keyboardist Godfrey eagerly splatter as many unhinged solos as possible across devilishly ingenious harmonic structures, singing their hearts out all the while. (Check out a video sample here.) Prefer calmer (though no less extended) sonic voyages? Lifesigns’ Live in the Netherlands should be just the ticket. Leaning on the music from 2021’s Altitude, keyboardist/composer John Young and guitarist Dave Bainbridge prove steady hands on the wheel, soothing the soul as they scale the majestic heights of “Open Skies,” “Ivory Tower” and “Last One Home”. (One other winner from outside the genre: for a 2021 COVID-time video, Bob Dylan fused his recent rummagings amongst the blues and pre-rock vocal stylings to revitalize his vintage repertoire. The unplugged sorta-soundtrack Shadow Kingdom is the winning result; order it here.)

Speaking of concerts, my prep for a recent show by British “post-Brexitcore” bashers black midi included their latest album Hellfire, which hit plenty of 2022 best-of lists in and out of the prog world. A detailed live review is forthcoming; suffice to say that on record, bm’s dense, anarchic musical interaction tracks all too well with their jaundiced first-person lyrical vignettes — it’s postmodern life as absurd, unstoppable apocalypse. A welcome bonus from that concert was meeting Mike Potter, Renaissance man of the Eastern Seaboard — astrophysicist, former recording studio owner and a whiz on keys, woodwinds and vocals too! Potter’s band Alakazam has just released their fourth disc, Carnival Dawn; it’s a heady conceptual effort that stirs equal parts Ray Bradbury and Stephen King into a bubbling stew garnished with ominous Mellotron, creepy clarinet and saxophone, and the wondrously deranged verbal musings of sundry evil clowns. By the pricking of my thumbs, it’s worth a listen — if you dare. And for a coolly energizing dose of order to chase the above chaos, you won’t do better than Sonar’s new Three Movements. Here Stephen Thelen and company harness a genuinely symphonic tension, building up towering rhythmic edifices that reach dizzying heights; at the climaxes, as guests David Torn on guitar and J. Peter Schwalm on electronics launch volley after volley of improvised ambience, the tension breaks, the clouds clear, and you might just hear the music of the spheres!

P.S.: in the aftermath of last month’s Nickel Creek concert, I’ve continued to delight in their back catalog. In addition to this year’s brilliant Celebrants, I especially recommend the final effort from their original run, 2005’s sprawingly eclectic Why Should the Fire Die?, and their tightly focused 2014 reunion, A Dotted Line. (Buy Nickel Creek CDs here.)

— Rick Krueger

Kruekutt’s 2022 Favorites

On By kruekuttIn afro beat, americana, art rock, avant-garde, Big Big Train, books, Cosmograf, electronic, Insideout Music, jazz, jazz rock, pop, progressive rock, Robin Armstrong, vernacular music2 Comments

A few notes before I dive in: items I’ve reviewed here are linked to the relevant Progarchy article via the artist/album title; If I didn’t review an item here or elsewhere, it’s marked with an asterisk (*) — but I hope the capsule description and listening/order links will encourage you to check it out!

My favorite new music of 2022:

  • Dave Bainbridge, To The Far Away: A thrilling, ravishingly beautiful album about love, longing, hope and a future. Lyrics of rich simplicity cradled in a lush orchestral blend of rock, prog and Celtic folk. My interview with Bainbridge is here.
  • Big Big Train, Welcome to the Planet: what turned out to be BBT’s final effort with the late David Longdon consolidates the widened horizons of Grand Tour and the intimate subjects of Common Ground, casting an epic light on the everyday glory of family, community, joy and loss.
  • Cosmograf, Heroic Materials: Elegiac in its evocation of past achievements, urgent in its contemporary call to action, breathtaking in its poised blend of fragility and strength, Robin Armstrong’s latest is a riveting listen.
  • The Flower Kings, By Royal Decree: TFK’s third double album in a row, this is the sound of Roine Stolt and company refreshed and revisiting their optimistic roots, soaring on the wings of one marvelous melody after another. As much a joy to hear as it must have been to create.
  • Mary Halvorson, Amaryllis & Belladonna: free jazz guitarist Halvorson hits a major label with two albums — teaming with a boisterously simpatico sextet on Amaryllis, then dancing atop and around modern classical textures from the Mivos Quartet on Belladonna. Audacious and engrossing, this music will open your ears real good!
  • Dave Kerzner, The Traveller: confident, appealing songwriting with hooky yet sophisticated melodies and structures, Kerzner’s best, widest ranging vocals to date and perfectly judged contributions from a stellar guest list. Letting his new songs sell themselves and keeping proceedings to the point, he both satisfies us and leaves us wanting more. 
  • The Delvon Lamarr Organ Trio, Cold As Weiss: An immediately accessible reboot of a classic jazz trio format. Organist Lamarr, guitarist Jimmy James and drummer Daniel Weiss are thrilling players who never fail to make their instruments sing. Funky, catchy bite-size tracks with great individual playing and razor sharp ensemble. 
  • Marillion, An Hour Before It’s Dark: The front half of Los Marillos’ latest has more swagger than they’ve mustered in a while; the back half’s meditative downshift climaxes with the sweeping smashcut finale “Care,” as power chords and massed choirs climb heavenward. Unique as anything in their catalog, and another thoroughbred winner.
  • Pure Reason Revolution, Above Cirrus: this fifth album reveals PRR at their best, consistently upping their game to the next level. For every moment of blissful harmonies and glidepath atmospherics, there’s an equal and opposite moment of feral guitar/drum slammin’ — and when they layer the two together, look out! Well worth buckling up for the ride.
  • The Smile, A Light For Attracting Attention: A Radiohead side project worth your while. Thom Yorke overflows with apocalyptic dread; Jonny Greenwood’s off-kilter instrumental instincts are keener than ever; Tom Skinner’s skittering beats relentlessly drive the grim, lush soundscapes forward. Music for our contemporary dystopia, irresistibly sucking you in.
  • Tears For Fears, The Tipping Point: Roland Orzbaal & Curtis Smith’s catchy-as-always comeback goes for catharsis via unstoppable rhythms, unforgettable choruses and naked vulnerability on every single track, Devastatingly gorgeous, uncompromising art-pop that will haunt you long after every listen.
  • And my Top Favorite of the year — Wilco, Cruel Country. A double set that detours from Jeff Tweedy’s thoughtful dad-rock toward Nashville and Bakersfield, the tactile interplay of the band and Tweedy’s quizzical, empathetic probes of societal alienation elevate this to an album of genuine tenderness and subtlety, gathering strength and heart as it unrolls. After a digital-only release this year, it’s finally coming out on LP and CD January 20!

My favorite reissues of 2022:

  • The Beatles, Revolver Special Edition*: No Revolver, no Sergeant Pepper — no prog? Regardless of what ifs, the Fabs’ great leap forward of 1966 was brilliant in its own right, dragging pop headlong toward the avant-garde. Here it gets a subtle yet effective remix, with fascinating studio outtakes framing the cutting-edge results.
  • Tim Bowness & Giancarlo Erra, Memories of Machines: an irresistible mix of unflinchingly intimate art-rock and lowering ambient backdrops. Ten years on, original arrangements and track lengths are restored, Erra’s textural work is inched forward — and as always, Bowness breaks your heart with his ringing couplets and his stoic voice.
  • My Top Favorite Reissue of the year: Robert Fripp, Exposure/Exposures. The guitarist’s 1979 return to active duty after a post-King Crimson sabbatical, binding together a disparate set of songs and guest artists with his innovative ambient Frippertronics. Whether by itself or as part of a gargantuan box set that chronicles Fripp’s entire “Drive to 1981,” it’s a wild, worthwhile listen in and of itself, while providing distinctive previews of coming attractions.
  • Marillion, Holidays in Eden Deluxe Edition*: my introduction to the band (I first saw them live on the US tour promoting the album), Holidays was partially a product of record company pressure for hit singles, but it also has plenty of Marillion’s trademark ambition, power and lyricism. A fresh remix complemented by exciting live shows on both audio and video.
  • Soft Machine, Bundles*: Add blazing young guitarist Allan Holdsworth to one of the pioneering British jazz-rock bands, stir in quirky compositions by keyboardists Karl Jenkins and Mike Ratledge, and stand by for fireworks! This fresh reissue also includes a hot live set featuring Holdsworth’s successor John Ethridge (still active with the Softs today).
  • Wilco, Yankee Hotel Foxtrot Super Deluxe Edition*: The album that put Wilco on the map (after they were dropped by their label), YHF mutated from Americana through dream-pop to electronica-tinged folk-rock as band members and producers came and went. Eight discs that copiously chronicle the recording process, plus blistering two live sets.

My favorite (re)discoveries of 2022:

My favorite live album of 2022: Big Big Train, Summer Shall Not Fade*. Equal parts power and grace, BBT’s 2018 headlining gig at Germany’s Night of the Prog may be their best live release yet. Playing to their largest crowd ever, David Longdon commands the stage; Greg Spawton and Nick D’Virgilio provide a muscular foundation; Dave Gregory, Rikard Sjobom, Danny Manners and Rachel Hall serve up one delightful moment after another. Bryan Morey’s review nails it; this is indispensable.

My favorite rock documentary of 2022: In The Court of the Crimson King: King Crimson at 50*. The most unconventional band of the last five decades gets the most unconventional documentary possible. Crims past and present weigh in on “living, dying, laughing, playing and rocking out”, with Robert Fripp providing the ever-present focal point in a particularly puckish fashion. There’s also a deluxe edition with live Crimson video (both in the studio and at 2019’s Rock in Rio festival) and four bonus CDs of soundtrack cuts, rarities, etc.

My favorite books about music of 2022:

  • Vashti Bunyan, Wayward: Just Another Life to Live. Singer-songwriter Bunyan’s unlikely late-60s odyssey from Swinging London to the Hebrides forms the heart of this evocative narrative. Laboriously traversing the heart of England, she gains understanding of the natural world, of human kindness and cruelty — and of her own sturdy inner core.
  • Dan Charnas (with musical analysis by Jeff Peretz), Dilla Time: The Life And Afterlife Of J Dilla, The Hip-Hop Producer Who Reinvented Rhythm*. In Charnas’ telling, Dilla emerges as an innovator who laid down new paths for neo-soul and conceptual hip-hop, via his subtle yet unsettling variations on previously straight-up rhythms. Peretz’s equally innovative graphic depictions of rhythmic innovations across the decades buttress the page-turning narrative.
  • Robert Fripp, The Guitar Circle*. More a philosophical tome than a how-to book, though still remarkably practical, Fripp’s highly conceptual explanation of his process (as unfolded in Guitar Craft courses and Guitar Circles) won’t be for everyone. But those who dig in will grasp where this eternally questing musician is coming from better than ever before.
  • David Leaf, God Only Knows: The Story of Brian Wilson, The Beach Boys And The California Myth*. The third edition of Leaf’s lifework chronicles The Beach Boys’ journey from surf-rock through eccentric art-pop to the dead end of nostalgia, then sidesteps to Wilson’s solo comeback, culminating in the completion of his masterwork Smile. Not in the least objective, but comprehensive, even-handed toward the rest of The Beach Boys, and heartfelt.
  • Grant Moon, Big Big Train – Between The Lines: The Story Of A Rock Band. How BBT became a prog powerhouse — through sheer bloody-mindedness, growth in craft and a keen ear for musical contributors — is the tale told in this richly detailed bio/coffee table tome. Both a celebration of the music made and an unflinching look at the price paid for a dream.

And in closing . . .

If you’re interested, check out these recordings I played or sang on that were released in 2022:

— Rick Krueger

Bryan’s Best of 2022

On By Bryan MoreyIn Big Big Train, progressive rockLeave a comment

This year has been an interesting one for me musically. For much of the middle of the year I was absorbed by older progressive metal music, primarily diving into back catalogs for Meshuggah, Pain of Salvation, TesseracT, and Caligula’s Horse. I found that I wasn’t as compelled by more traditional “prog rock,” at least not in its shorter forms. I did find myself enjoying some of the longer form tracks, like Lobate Scarp’s “Flowing Through The Change” and Ryo Okumoto’s “The Myth Of The Mostrophus.” Much of my favorite new music leaned towards post-progressive music, with a few more traditional picks thrown in as well. I’ve reviewed a lot of music this year and listened to far more, some of which would have made a best-of list in years past where I listened to less music. Alas.

The following order is relatively arbitrary apart from my top album at the end.

GH-2022-cover-1080px-PREVIEWGlass Hammer – At The Gate
The third record in Glass Hammer’s Skallagrim trilogy of fantasy albums doesn’t disappoint. In fact in may be the best of the trilogy. Equal parts heavy and proggy, I think my favorite parts are when the band goes full Rush. You don’t hear many bands really showing a mature Rush influence (as opposed to hearing elements of a Rush sound), and it was great to hear it on this album.

tangent-hard-shoulderThe Tangent – Songs From The Hard Shoulder
The Tangent returned this year with a collection of prog epics (and one R&B, disco, funk track), sure to thrill longstanding fans and possibly scare away the uninitiated. Check out my review of the album: https://progarchy.com/2022/06/28/album-review-the-tangent-songs-from-the-hard-shoulder/. Check out Rick Krueger’s interview with Andy Tillison, as well: https://progarchy.com/2022/05/27/andy-tillison-the-progarchy-interview/.

Lobate Scarp - You Have It AllLobate Scarp – You Have It All
This record was a long time in the making for Lobate Scarp and it’s mastermind, Adam Sears. The record masterfully blends prog with pop sensibility, all while bearing a strong Spock’s Beard influence. My favorite song is the 17-minute “Flowing Through The Change.” Beyond that, I’ve found many of the uplifting lyrics from other tracks running through my mind over the course of the year. Check out Time Lord’s review: https://progarchy.com/2022/05/06/album-review-you-have-it-all-by-lobate-scarp/.

a0006828710_10Dave Brons – Return to Arda
Dave Brons recently released a follow-up to his 2020 Tolkien-influenced record, Not All Those Who Wander Are Lost. Return to Arda looks at nature within Tolkien’s “Middle-Earth” through a celtic progressive rock lens. Featuring vocals from Sally Minnear, and mixing by Dave Bainbridge. Check out the album on Bandcamp: https://davebrons.bandcamp.com/album/return-to-arda.

Gabriel Keller - Clair ObscurGabriel Keller – Clair Obscur
I reviewed quite a few albums from France this year, and this record was my favorite of those. It contains a blend of English and French lyrics with multiple vocalists. The album has a variety of styles, gradually getting darker and heavier as it goes along. Check out my review: https://progarchy.com/2022/11/13/gabriel-kellers-stunning-musical-journey-clair-obscur/.

8716059014463-cover-zoomInhalo – Sever
I reviewed this debut album from the Dutch proggers for the Dutch Progressive Rock Page earlier this year, and it was a very pleasant surprise for me. It reminded me of TesseracT if they were playing just hard rock and not metal. Very atmospheric with a mature sound. I love their wall-of-sound approach. It’s a solid record, and I look forward to more music from the band. Check out my DPRP review: https://www.dprp.net/reviews/2022/071.

Big Big Train - Welcome to the PlanetBig Big Train – Welcome To The Planet
This record was bittersweet, being the final Big Big Train record to feature David Longdon on lead vocals. It was also an album of change for the band, with new member Carly Bryant taking a more prominent role on the record compared to Common Ground released a mere six months earlier. The record contains a pleasant blend of the band’s more accessible bits as well as their proggy moments. “Capitoline Venus” is a touching love song, while “Oak and Stone” fits in a long tradition of Big Big Train’s pastoral contemplative tracks. The title track is a bit unlike anything we’ve heard from the band, at least during Longdon’s tenure, reflecting Bryant’s new influence. It took me a few listens, as it took me by surprise at first. But once I “got” it, I really came to enjoy it. Check out my review: https://progarchy.com/2022/01/19/album-review-big-big-trains-welcome-to-the-planet/; and check out Rick’s review too: https://progarchy.com/2022/01/21/ricks-quick-takes-for-january/.

Big Big Train Summer Shall Not FadeBig Big Train – Summer Shall Not Fade
The band’s 2018 performance at the Night of the Prog in Loreley, Germany, has been a bit legendary amongst the band’s fans for years, and I suspect the band decided to release it this year due to Longdon’s tragic passing last year. The concert finds the “classic” lineup of the band playing at or near their best in front of a very large crowd. We’re reminded of how great a frontman Longdon really was. It’s a pleasant way to remember this part of the band’s history. Check out my review: https://progarchy.com/2022/11/05/big-big-train-summer-shall-not-fade/.

Bjørn Riis Everything to EveryoneBjørn Riis – Everything To Everyone
This record dominated my listening early in the year. Riis is an excellent guitarist, and his atmospheric rock is always compelling. Every one of his solo albums is worth listening to for his music, vocals, and lyrics. His albums are melancholic, like most of the progressive rock I’ve heard from Norway. Check out my review: https://progarchy.com/2022/05/09/album-review-bjorn-riis-everything-to-everyone/.

dt-lightwork-front-coverDevin Townsend – Lightwork/Nightwork
Devin may have gone quieter on Lightwork, but the album displays his talent as well as any of his records. His skills as a mixer, writer, composer, guitarist, and singer are on full display. The companion album, Nightwork, has some heavier moments, perhaps to soothe parts of his fan base. Either way, both records are great. Check out my review: https://progarchy.com/2022/12/22/devin-townsend-lights-the-night-lightwork-and-nightwork/.

meshuggah-immutableMeshuggah – Immutable
It has taken me close to a decade of listening to progressive metal before I was able to finally get into Meshuggah, and it happened this year! I’ve long known about them and respected them, but I just couldn’t get it. Maybe me getting into Devin Townsend’s more extreme side over the past couple years helped open that door, but I’m now a big Meshuggah fan. I could even hear a Meshuggah riff (from “Demiurge”) coming from my knife and cutting board when I was chopping celery last week. “Immutable” is a fantastic record, finding the band tweaking their sound a bit without changing their substance at all. “Broken Cog” is heavy, brooding, and atmospheric. The scream of “broken cog” close to the end is absolutely epic. Check out Mahesh Sreekandath’s review: https://progarchy.com/2022/11/25/immutable/.

Porcupine-Tree-–-Closure-ContinuationPorcupine Tree – Closure Continuation
I didn’t get into Porcupine Tree until after their hiatus following 2009’s “The Incident” and subsequent tours. I had no real expectations for this record, since Porcupine Tree has played a lot of different styles over the course of their long career. I kept an open mind, and I was highly rewarded. This album is pure Porcupine Tree without feeling like it’s trying to create a certain sound. It’s just what came about from the members writing and playing together on occasion over the past decade. Upon reflection, I think my dislike for some of Steven Wilson’s poppier solo work might be tempered if he continues to make music like this in other outlets. Check out Rick Krueger’s review of the band’s live show in Chicago: https://progarchy.com/2022/09/23/porcupine-tree-in-concert/.

marillion-ahbitd-1Marillion – An Hour Before It’s Dark
Another record that dominated my listening early in the year. This record is almost as good as 2016’s F.E.A.R. Perhaps not quite, but it is close. It’s one I’ll likely enjoy for years to come. Well written music and lyrics (for the most part – I have my beefs with one track) that ponder the turmoil of the last few years. It’s a hopeful album that has some calls to reflect and change our ways. In the end, it makes you think, as all good art should. Check out my review: https://progarchy.com/2022/03/27/we-still-have-time-marillions-message-of-hope-an-hour-before-its-dark/.

Oak - The Quiet Rebellion of Compromise1. Oak – The Quiet Rebellion Of Compromise
Oak never disappoint me. Their latest record finds them evolving their sound a little bit, but it is still definitively Oak. Their layered soundscapes, haunting vocals, and thoughtful lyrics have kept them at the top of my list of favorite newer bands since I first heard them in 2016, and they’ve only confirmed that for me with this record. They’re a band that deserves far more recognition from the prog world. Check out my review: https://progarchy.com/2022/12/14/oaks-third-masterpiece-the-quiet-rebellion-of-compromise/.

steven-wilson_limited-edition-of-one_bookMy favorite prog book of the year was Steven Wilson’s Limited Edition of One. Breaking the mold of rock artist memoirs, Wilson (and Mick Wall, who helped him in the writing process) created a post-modern masterpiece. I typically dislike anything deconstructive (in an academic sense), but Wilson turned it into an art form. He combines memories with lists of his favorite music, books, and movies along with more philosophical commentary on his career and on music in general. Check out my full review of the book: https://progarchy.com/2022/05/08/more-than-a-memoir-steven-wilsons-limited-edition-of-one/.

I only went to one concert this year: Steve Hackett. Interestingly, Hackett was the last concert I saw before governments shut everything down for Covid. The band played the Seconds Out setlist, along with some of his solo tracks. It was a brilliant show, with Hackett clearly demonstrating that his band is the best thing touring right now. He even released a live album from the tour that is well worth checking out. Check out my concert review: https://progarchy.com/2022/04/27/live-again-steve-hackett-plays-st-louis-4-26-22/. And check out Rick’s concert review too: https://progarchy.com/2022/05/06/steve-hackett-in-concert-from-spectral-surrender-to-seconds-out/.

This best-of list feels woefully incomplete considering how much excellent music was released this year… Muse, The Flower Kings, Six by Six, Ryo Okumoto, The Bardic Depths, Cosmograf – all great records, but the above list really captured my attention for one reason or another.

Hopefully 2023 will be another great year for prog. As usual for me, music has been an escape, a sedative, a lighthouse in the storm. With 2022 being one of the most difficult years of my life, music provided much needed comfort and direction over the course of the year. I suspect that will continue in the new year.

Merry Christmas and Happy New Year, everyone. Thanks so much for reading.

Big Big Train Release Live Video For “Snowfalls”

On By Bryan MoreyIn Big Big TrainLeave a comment

Big Big Train have released a live video of the current lineup performing deep cut, “Snowfalls,” at De Boerderij in the Netherlands a few months ago. The song was the B-side for the band’s Christmas song, “Merry Christmas,” released in 2017. It’s a great track, and the band did a great job with it at this show. It’s nice to see new singer Alberto Bravin in action.

Big Big Train – Summer Shall Not Fade

On By Bryan MoreyIn Big Big Train, progressive rock1 Comment

Big Big Train, Summer Shall Not Fade: Big Big Train Live At Loreley, 2022 (concert recorded July 13, 2018), Blu-Ray/2CD
Tracks: The First Rebreather, Folklore, A Mead Hall In Winter, Kingmaker, Summer’s Lease, Brave Captain, Prelude and Fugue, Judas Unrepentant, The Transit of Venus Across the Sun, The Permanent Way, East Coast Racer, Drums and Brass, Wassail

Big Big Train never cease to amaze me. While this release has been out for a couple weeks now, I’ve just gotten time to sit down and enjoy the band’s latest live recording, Summer Shall Not Fade. The live show marks the band’s first time playing in Europe, at the prestigious Night of the Prog festival in Loreley, Germany on July 13, 2018. It also marks a closing of the curtain for what I consider to be the band’s “classic” lineup. Sadly, David Longdon passed away just under a year ago, and Dave Gregory, Danny Manners, and Rachel Hall all left the band in 2020. With everyone present, this show really finds the band at their peak.

Musically, this show sounds good enough to be a studio recording. There may be a few hiccups, but they are indeed few and far between. Be it Nick D’Virgilio’s intricate and soulful drumming, Rikard Sjöblom’s rocking Hammond and guitar, Dave Gregory’s shredding… I could go on. They all sound great.

One of the things that really stands out to me in this performance is how David Longdon really came into his own as a frontman. Since the show was at an outdoor festival, the stage was pretty big, allowing this Big Big Band to spread out more than in their other live recordings. There is also a small runway, which allowed Longdon to get out closer to the audience. Rachel Hall even used it at one point during “A Mead Hall In Winter.”

An example of Longdon’s showmanship appears during the first track, “The First Rebreather,” when he breaks into maniacal laughter after the lyrics, “This man will walk into darkness / Without fear of what lurks in the shadows.” The editor of the Blu-Ray zooms the view in on David’s face, which is lit with red light. It also appears like his head gets bigger, exaggerating the impact of his disturbing laughter. It’s a small moment, but it brought a whole new element to the song, bringing the terror of the darkness to the forefront.

The performances themselves are stellar. D’Virgilio is ever the champ on the drum kit, as well as with his backing vocals. Danny Manners shined on the instrumental “Prelude & Fugue” leading up to “Judas Unrepentant.” It’s a nice way to remember his time in the band. Dave Gregory, who also left the band in 2020, shines throughout with his guitar-work. His work will certainly be missed moving forward, although I have full faith in Rikard Sjöblom and Dave Foster.

Speaking of Rikard, he was so much fun to watch. His Hammond solo in “A Mead Hall in Winter” demonstrates his importance in this band, and watching him headbang during “East Coast Racer” was total fun. Since Longdon’s tragic passing, I’ve come to see that the new core of the band moving forward is Greg Spawton, Nick D’Virgilio, and Rikard. Obviously the others will (and already have) contribute, but these will be the mainstays (I hope).

Rachel Hall also really came into her own as a performer in this show. She was connecting really well with the audience, and her vocals and violin added a lot to the overall sound.

The visuals on the recording are quite good. At the beginning of the show, the stage was poorly lit by the passing light of day (I know, I know, wrong band reference), causing the camera-work and editing to look somewhat amateurish. This went away a few minutes in after the sun fully set, allowing the stage lighting to bring a professional feel to the performance. The editor also made good use of cuts and split screens without making the show feel overworked. It all felt natural, especially with how they were able to include shots of the large screen of images behind the band.

The audio is stellar, especially for an outdoor venue. That’s either a credit to the mixing crew during the show or to Rob Aubrey in the mixing booth in preparation for this release – or both as I believe Aubrey handles mixing for their live shows as well. I haven’t heard the 5.1 mix since I sadly don’t have that setup, but the stereo mix sounds great. Both Gregory Spawton’s intricate deep end and the crystal-clear high end of the brass sound wonderful, and most importantly, they sound clear.

Summer Shall Not Fade is an excellent performance from the definitive and now lost lineup of one of the most important bands in the progressive music scene today. Any progressive rock fan should certainly give this a look, but fans of well-composed and expertly performed music should also take note. While it’s sad to say goodbye to Longdon, as well as the other members of the band who have left, I’m happy we get this live album to remember this chapter in the band’s memorable history.

https://www.bigbigtrain.com
Purchase (UK/Europe): https://burningshed.com/store/bigbigtrain/big-big-train_summer-shall-not-fade_2cd_blu-ray
Purchase (North America): https://thebandwagonusa.com/collections/big-big-train/products/big-big-train-summer-shall-not-fade-bluray-2cd-pre-order-only

Progarchy’s Band of the Decade – Big Big Train!

On By Bryan MoreyIn Big Big Train, progressive rock1 Comment

As we wind down our month-long celebration of Progarchy’s tenth birthday, we bring you our pick for the band of the decade – Big Big Train. For long term readers, this pick should come as no surprise. The original inspiration for this website came from a love and appreciation for Big Big Train and what they were doing.

To celebrate this Big Big Band, Progarchy’s editors (Chris Morrissey, myself, and Rick Krueger) have each written short essays that we hope touch on the band’s brilliance and importance in the progressive music scene today.

Chris Morrissey
A Grand Decade of Big Big Train: Reflections from Progarchy’s Resident Time Lord

It was the band’s freely offered download of “The Underfall Yard” that exercised a magnetic pull on so many potential listeners to Big Big Train. And then, once the track was downloaded and digested, those explorers were hooked for life. 

That was back in 2009. For me, it was the magic of David Longdon, now added to the band, that pushed their work into the upper echelon of prog artistry. 

And then, for me especially, “The Wide Open Sea” track on the Far Skies, Deep Time EP (2010) offered further proof that this was a band destined for eternal greatness.

And then the grand decade of Big Big Train ensued, from 2012 to 2022, which saw them soar ever higher. No wonder, then, that Progarchy.com came into co-existence, and rode along as prog passengers, chronicling this glorious time in prog music history

Big Big Train has been the engine drawing us all forward. It’s been an honor to track their musical arc here at Prograchy.com for the past ten years of glory. 

Thank you, everyone, for celebrating this, during our site’s anniversary month of Progtober, which has included celebration of the decade’s top albums, and also its top artists: Hackett; Wilson; and Morse & Portnoy. 

I urge you now to kick back, take time off, and play through BBT’s back catalogue.

To help further your enjoyment of these happy musical memories, I point you to the wide collection of commentary which I have authored that resides here in the Progarchy archives:

Virtual liner notes for English Electric—Part 1 (2012)

Virtual liner notes for English Electric—Part 2 (2013)

My controversial commentary on English Electric Full Power (2013)

Virtual liner notes for Folklore (2016)

My ★★★★★ album review of Folklore (2016)

My ★★★★★ album review of Grimspound (2017)

My reflections on BBT, analog/vinyl, and Grimspound (2017)

As you can infer from the above, The Underfall Yard (2009), Far Skies Deep Time (2010), English Electric Part One(2012), English Electric Part Two (2013), Folklore (2016), and Grimspound (2017) are the six albums that will always be my favorite BBT albums. 

I was mildly annoyed when BBT again reworked material on The Second Brightest Star (2017) since it seemed to confirm some of my earlier misgivings. In retrospect, I see my complaints did not adequately take into account the sheer generosity of the band, a band which was being kind enough to admit us into the inner sanctum of the artist’s musical process. Musical excellence is always a work in progress—by constantly being workshopped and refined. I see now that BBT’s superabundant dynamism was something to celebrate, rather than quibble too much about.

I confess I took them for granted in the past few years, only to be shocked by David Longdon’s untimely death. Now I find myself returning to their superb recent albums that I didn’t appreciate enough to write about adequately on Progarchy.com: Grand Tour (2019), Common Ground (2021), and Welcome to the Planet (2022).

Over the past decade, if I had to pick a “top ten” list of ten albums that we editors of Progarchy could collectively designate as our officially designated and editorially endorsed canon, then I would simply gesture to the ten BBT albums I have just named above. I suspect my bandmates would agree.

—Chris “Time Lord” M. (on drums), who dedicates these BBT-focused musings on the grand decade (2012–2022) with gratitude to: Bryan M. (on lead guitar); Rick K. (on organ and keyboards)

Bryan Morey
“Following a Dream of the West”

I discovered Big Big Train back in 2013 with English Electric: Full Power. I was blown away, and I still am. A bit later I dug into The Underfall Yard, and then Folklore came out and I was really hooked. Ever since, their albums – both live and studio – have been at or near the top of my yearly best-of lists. They have always remained true to the nature of progressive music by mixing in splashes of folk, pastoral themes, haunting brass, and even pop.

We’ve talked about all that at length over the years here at Progarchy. I want to talk briefly about why I think Big Big Train matters so much, beyond merely the brilliance of their music and lyrics.

Big Big Train stand for something much bigger. They stand, to steal from their own lyrics, for “science and art / And beauty and music / And friendship and love.” In a world that shuns anything connected to the past or tradition, Big Big Train have managed to embrace both that and hope for the future. They recognize the need for both, which is what the Western tradition has always been about. We take what is good from the past and use it to guide our steps forward. And we also learn from the mistakes of the past to influence our way forward.

Big Big Train recognize that “The poets and painters and writers and dreamers” matter. Without them, the world becomes a dull, dreary, and despotic place. Big Big Train represent the poets, painters, writers, and dreamers in their work.

The lyrics of Gregory Spawton and David Longdon are poetry of the finest order. The paintings of Jim Trainer and Sarah Louise Ewing have been some of the finest album artwork of the last twenty years.

As writers, of course their lyrics, but also the liner notes they have included with some of their albums. The original issue of English Electric: Full Power is particularly wonderful in this regard, in addition to having some of the finest packaging of any CD released in the last decade. They showed us how even the humble CD could be presented in a beautiful form one would be proud to display on their shelf.

And dreamers… how could a band that writes about everything from King Alfred the Great to a hero carrier pigeon be anything but dreamers of the highest order?

In doing all this, Big Big Train have inspired us listeners to do the same. I’m inspired to be a better writer when writing about them or any other band. I’m inspired to practice watercolor painting. I’m inspired to dream about the good, true, and beautiful. Few other bands draw me into the sublime the way Big Big Train routinely does. For that, I name them the finest band of not just the decade, but this century.

Rick Krueger

Despite Prog Magazine’s consistent championing of Big Big Train, I managed to resist their appeal until 2016.  Searching for a musical mood enhancer one afternoon at work, I came across From Stone and Steel on Spotify.

Any number of things about that set were appealing: the bracing tightness of the band, David Longdon’s adventurous vocals, the scenarios and soundscapes BBT conjured up.  But it was the brass that got me.  When they slammed into the choruses of “The Underfall Yard” and the lead trumpet soared heavenward at the end of “Victorian Brickwork”, I was hooked!  I had to hear more.

Folklore was just out, so I grabbed it ASAP and loved it.  Ditto for the back catalog, including my favorite to this day, English Electric: Full Power.  And to cap it all off, I ordered the Stone and Steel Blu-Ray via BBT’s website.

Only when I got it, the thing wouldn’t play – due to technical issues with my Blu-Ray player that had already caused fellow fans in the USA headaches aplenty.  What to do?  Enter Big Big Train’s amazing Facebook group, better known as the Passengers.  With an enthusiastic welcome and all the kindness in the world, they steered me toward both a downloadable version of the video and a Blu-Ray player that would play S&S.  I was so moved, I figured out how to burn the download version to DVD and shared instructions for doing so with the group – gathering kudos even from band members!  

This was a band and a fandom where you could feel at home, and I started proclaiming the wonders of BBT to anyone who would listen.  When a friend saw Sarah Ewing’s Folklore-era band portrait functioning as my laptop’s background screen, he said, “I need to introduce you to another friend of mine – he writes for this website called Progarchy.”

Which is how I started here, five years ago.  Since then, I’ve followed the ups and downs of Big Big Train’s career with all of you. I’ve delighted in hearing them break new musical ground with every release; my wife and I were thrilled to get BBT tickets in early 2020, then disappointed when that trek became The Tour That Never Was; I had the privilege of interviewing the late David Longdon in the summer of 2021, as he touted Common Ground and eagerly anticipated the long-delayed Stateside tour.  In the wake of his death, even as that interview reached a worldwide audience via a link from The Guardian, all of these thrills , ever so briefly, seemed completely hollow.

But in line with Longdon’s wishes, Big Big Train perseveres, and we are the better for it.  Their unique blend of pastoral atmosphere, historical narrative, mellifluous harmony and hypermodern groove is moving forward, with Alberto Bravin fronting the band onstage this fall and new music promised for 2023.  Saluting them as Progarchy’s Band of the Decade, I can only say, long may their journey continue!

Rick’s Quick Takes for September

On By kruekuttIn Ambient, americana, art rock, Big Big Train, Cosmograf, Insideout Music, progressive metal, progressive rock, Robin Armstrong1 Comment

Another month of thoroughly enjoyable releases across the progressive spectrum from quiet to loud, from controlled to anarchic — often all in the same album! As always, order links are included in the artist/album title listing, and streaming audio or samples follow the review.

Cosmograf, Heroic Materials: Robin Armstrong’s latest concept album speaks softly and hits home hard. As a World War II fighter pilot recalls the challenge he rose to as a young man and laments the passing of his golden era, he also sounds the alarm about the challenges the generations who’ve followed have inherited. Throughout, Armstrong’s lyrics are simply stated yet deeply affecting, sung with real gravity and soul. And as the music patiently unreels, it becomes impossible to pick out a standout track; each brooding acoustic interlude, each stinging electric solo, each cinematic ebb and flow leaves its indelible mark. Elegiac in its evocation of past glories, urgent in its call to action today, breathtaking in its poised blend of fragility and strength, Heroic Materials is a riveting listen and a thing of beauty, already on my list of favorites for this year.

Dim Gray, Firmament: a Norwegian band that’s getting a broader push courtesy of Kingmaker Management, with an opening slot on Big Big Train’s recent tour (to say nothing of Oskar Holldorf’s filling BBT’s keyboards/backing vocals slot live) and their second effort released through the English Electric label. Kingmaker knows how to pick ’em; Holldorff, guitarist Hakon Høiberg and drummer Tom Ian Klungland whip up a mighty noise on Firmament’s 12 succinct tracks, with Holldorff and Høiberg’s ethereal, evocative singing launched above one swirling, quasi-orchestral crescendo after another. From opener “Mare” to finale “Meridian”, middle-aged farts like me might hear echoes of Phil Spector’s Wall of Sound, Brian Wilson’s pocket symphonies and Avalon-era Roxy Music, while younger listeners may catch hints of Fleet Foxes’ seamless, potent vocalises and Sigur Ros’ relentless ensemble builds. Whatever Dim Gray’s influences, the trio’s pin-sharp ensemble and pacing, thrilling sense of dynamics and undeniable gift for melody make for an arresting sound, with impressionistic lyrics that complement the sweep and yearning of the music. Here’s an album that not only dreams big, but actually delivers.

Steve Hackett, Genesis Revisited Live – Seconds Out & More: by my count, this is Hackett’s sixth live set since the Genesis Revisited concept revived his worldwide touring mojo a decade ago, beating out even Rush’s late career live output. Too much of a good thing? Arguably — but on the other hand, both Bryan Morey and I raved about this tour when it hit the Midwest this past spring, so I can also argue that more is better! With Amanda Lehmann complementing his usual merry men on second guitar, Hackett and band rip through a set of solo classics (and I wholeheartedly include Surrender of Silence tracks “Held In the Shadows” and “The Devil’s Cathedral” in that description) that climax with Lehmann’s floating vocals and Craig Blundell’s jaw-dropping drum workout on the vintage “Shadow Of The Hierophant”. Then it’s nirvana for Hackett-era Genesis fans, with the entirety of their 1977 live masterwork reprised (and sometimes gently, sometimes deliriously reimagined) in one go. Gorgeous sound whatever the format, and nicely hi-def visuals on the BluRay; it all does what it says on the cover, with Hackett’s usual flair and panache. See you next year for the Foxtrot At Fifty set?

King’s X, Three Sides of One: “Calling all saviors/And I’m shouting at God/Oh won’t you come and save us/Don’t you think we need you now/So let it rain, to wash the fear away.” dUg pinnick’s vocal testifies while his bass thunders, Ty Tabor’s guitars chime and howl like lightning, Jerry Gaskill’s drums crack open the earth and sky. And the apocalyptic “Let It Rain” is only the start for a trio that’s lost none of its power. King’s X’s first album in fourteen years, Three Sides of One’s rock is thick, gnarly, punchy and unbelievably tough no matter the tempo or texture, always locked into a sweet groove that carries you along. With Pinnick’s gospel-rooted shouts complemented by Tabor and Gaskill’s spindly, psychedelic harmonies, the band prowls the waterfront of life today, calling out the hucksters of “Festival” and the digital overlords of “Swipe Up”, commiserating with “all the lonely people” of “Give It Up” and “Holidays”. Stir in the drained cynicism of “Flood Pt. 1” and the dystopian parable “All God’s Children” and you have a compelling vision of societal despair. Human love (“Take the Time”, “She Called Me Home”) offers respite, but there’s no closure in sight; as pinnick preaches on the final track, “The whole world is crying for love/Every everywhere.” Lighting candles and cursing the darkness with alternate breaths, King’s X rocks on regardless — and I consider that heartening in and of itself.

Continue reading “Rick’s Quick Takes for September” →