Looks like they are sticking to the tried-and-tested — sound!
Sam Healy–while complying with Big Euro Brother laws, regulations, and microintrusions–offered a wonderful teaser/trailer for the forthcoming North Atlantic Oscillation album, coming sometime this year.
Granted, it’s only a full-eighteen seconds worth, but it’s eighteen more seconds then we had before. . .
Like Thelonious Monk, I like everything. But a little bit of everything — not everything of everything. Within about 30 seconds to a minute of hearing a track someone is “showing” me for the first time I decide whether I’ll invest time exploring the artist.
The other evening I was reading an article while my wife was listening on her phone to a band that had appeared earlier that day on the WDVX (Knoxville, TN) Blue Plate Special. Twelve seconds into “Deep Blue Eyes,” I heard what I figured to be the familiar affectation of a young contralto voice. “No. No, no. Not another hipster band.” Already, my mind was conjuring images of the group — bearded men with goofy hats and suspenders; she, probably wearing some 1920’s floral print with loud lipstick and hairstyle to match.
At 47 seconds, however, something unusual happened with the mandolin. It climbed the scale, ripping open an attic of dense harmonies. The driving instrumental break, pausing to get its breath before again lunging forward, signaled something beyond my first impression.
I don’t know
Which way we are being pulled
But the stars are sewn into the sky
To guide us on our way
And then, “Down, down, below the waves…” By the 2:20 mark I had minimized whatever forgotten article I was reading and was Googling, “…who is this, honey?” “A band called Honeysuckle.”
My sincerest apologies to Holly McGarry, Benjamin Burns, and Chris Bloniarz for my prejudice. I promise that when you guys come back down South we will be there in the front row to see you.
Catacombs (Oct ’17) is the latest release from this Boston-based trio. How did I miss them? Liking everything sometimes devolves into too much time around the fringes: not bluegrass but traditional bluegrass; not progressive music but proto-prog, etc. Traveling the gaps are artists that pull together everything you love with unexpected dash and capacity.
Honeysuckle play traditional folk instruments (guitar, banjo, mandolin) with a jazz rock intensity and chiseled focus. The wordless vocals of “Constellations” might put one in mind of Fleet Foxes; but the musicianship is so staid and majestic that it takes wing under its own power, without an updraft of reverb.
The title track features a fusionist breakdown, introduced by a riff reprised at the end of an atonal final chorus that swirls like angry hornets. “Watershed” has a complex cadence and vocal delivery that would be at home on Tull’s Stand Up. “Chipping Away the Paint” recapitulates and expands on the themes introduced in “Constellation” and “Catacombs,” with bits of “Deep Blue Eyes” linked by a psychedelic jam and — what’s this? — a throbbing electric guitar riff. A sign of things to come? [Update: the band informed us that it’s actually the mandolin with heavy pedal effects]
Okay, maybe the brief whistling on “Greenline” is just a tad hipstery. But for those who ramble on toward Proghalla this track, like the rest of Catacombs, points out an inviting, picturesque path under familiar and constant stars. One definitely worth exploring.
From Honeysuckle’s living room, the title track…
Well, not content with upping the ante last year with their triple disc magnum opus The Clockwork Fable (which to be honest is one of the finest albums ever made) and triumphantly headlining their own Fistival, the boys are giving us a bonus remastered Fisting with their remaster and re-tooling of their 2013 album A Day in the Life of a Universal Wanderer.
However, the Fist being the Fist never do things by half, so this see’s the album remastered, parts re-recorded, new linking narratives from Paddington’s Santa, Mark Benton (who also played a memorable part in The Clockwork Fable – oh, and Doctor Who) and the new track The Stowaway and the Fable, which according to the band, brings this release in line with the sonic template of 2014’s A Forest of Fey, and 2016’s a Clockwork Fable.
Now, for some artists chucking out a quick sneaky remaster of an album, scant years after it’s initial release could be seen as lazy, however having seen the care and attention the ‘Fist boys put into their work, this is more a case of taking that classic old car that’s been off the road for a year or two, putting in the hard yards and getting it race ready again.
The main difference between the original release (which I’ve not heard) and this new vision, is that since this was released drummer Stefan Hepe and bassist Chris Ewen were recruited to join the nucleus of the band Dean Marsh (guitars/keys/vocals) and Luke Severn (vocals/keys) and made their recorded debuts on the phenomenal A Forest of Fey (which was my first fisting).
It seems appropriate then to have the drum parts for Universal Wanderer re-recorded, with Stefan adding a his teutonic precision, giving it that mighty full Fist band sound that makes their latest releases so epic.
With Mark Benton providing linking narration, this pulls it right into the Fist family, and the mix of harder edged rock, full on epic space ballads, powerful epics, and tight coherent narrative this has all the hallmarks of a Fist classic.
Listening to the music here, and the plotting and way the songs lead the narrative, this could almost have been a dry run for The Clockwork Fable (and I have no doubt that somewhere in the fertile imagination of those Fist boys, this ties in somewhere with that and Forest of Fey).
They do like their harder edged sounds and epic tracks like the Nine Billion Names of God, and the new epic that has snuck it’s way here, or indeed like a pigeon found it’s way home ‘The Stowaway and the Endless Night, features some of their heavier sounds, impressive guitar riffing and a fab hard edge.
This subtle blend of light and dark works with tracks like Orphans of the Sky, and long term Fist associate Melissa Hollick provides superb vocals on here and forms part of that mighty Fist sound.
The concept here is around The Universal Wanderer a 26th Century mythical figure who has wandered the Universe since the dawn of time, I wonder if he’s ever bumped into someone similar who happens to fly round in a blue Police Box, I bet they have plenty of things to chat about at the Restaurant at the End of the Universe.
And having wandered the Universe the Fist have certainly got plenty of diverse musical sounds that they weave together to create a coherent whole, the wonderful Battle for Tannhauser Gate with William Stewarts violin duelling with the guitars, is a fab slice of folk rock prog, with another superb duet and pulls more strands of the story together.
In fact the album is as much as rich musical tapestry with the diverse genres and sounds, pulled together like a well made jumper, bringing the strands together to create a coherent whole, and one that is worth losing yourself in for an afternoon.
The closing The Wanderer Goes is the stitch that pulls those threads together, reprising the opening Nine Billion names of God, with a fantastically epic closing section, worthy of the name, bringing the album back full circle.
If you’ve never heard of Gandalfs Fist then it’s time you got fisted, and if you are familiar with them, and think you already have this album, according to the guys this is as different from the original as could be, reworked, retooled, remastered and reissued to give it a bigger place in the Universe.
Whatever you think of the bands name (and it has been described in certain quarters as a maarmite name, and I like it) Gandalfs Fist certainly are some of the most ambitious musicians when it comes for big concept albums and mighty sounds, and what is gratifying is that they have the musical chops and storytelling nous to pull it off with style and aplomb.
I look forward to where their fertile imagination plans on taking us next musically, whilst they ponder that in their secret Fist bunker where plots are plotted and albums are hatched, let us enjoy this story of a Universal wanderer and see where he takes us.
A day in the Life of a Universal Wanderer (Special Edition) is available now from
Every genre has a holy trinity, for prog it’s Yes, King Crimson and Pink Floyd, metal is Led Zep, Deep Purple, Black Sabbath, NWOBH is Iron Maiden, Saxon, Def Leppard, neo prog has IQ, Marillion and Pallas and now Rushdenbeat has it’s trinity, you have the Fierce and the Dead, Orange Clocks and now presenting their debut EP, The Paperweight Array, the third leg to the mighty sound that is Rushdenbeat, which is, to my mind the defining sound of 2017.
After my review for Progarchy about Orange Clocks, I inadvertently coined the phrase ‘Rushdenbeat’ and suddenly it took a life of it’s own on, with a Facebook group and a # as well!
Following this Aaron Hemmington got in touch and sent me a copy of the bands debut EP Transmissions from a Distant Star, a three-track introduction to their psychedelic world.
For those who aren’t aware Rushden (as per our good friend Professor Wikipedia) is part of the county of Northamptonshire, and was home to such luminaries as H E Bates, darts player James Richardson, and of course (although Wikipedia needs updating) Matt Stevens.
What is it about small English towns that can be the epicentre of something new and exciting?
I grew up in Rotherham, where the best thing going for it was the road to Sheffield where all the decent record stores were, and yet from 1991 onwards Rotherham had been home to the Classic Rock Society, and a Northern pulse for progressive rock, handy if you happened to be 17, into prog and on a bus route into town!
It seems as Matt Stevens himself has questioned on Facebook, that pre-internet, when you were in a small town, certain things either passed you by, or you found yourself in a particular group of friends where certain locations and musical tastes influenced you.
I remember saving all my money from my summer job for a trip down to London because the record stores there would have far more rare and esoteric albums, and I wasn’t able to just log in using my smart phone, search them and then buy them.
I think the mid 90’s were the golden days of record collecting, where finding music was much more of a hunt, more of a chase, and you appreciated listening to it more because you had put so much more effort into it.
That is the same with bands from smaller towns, Rushden I would imagine, like Rotherham would be bypassed by all the big names, and so if you wanted to hear the music you liked, then the only way to do it would be to form a band and play it yourself.
That is the ethos that runs through Rushdenbeat and so many other small town bands making a big noise.
Transmissions from a Distant Star, starts with the title track, some fantastic spiky guitar work and then a wonderfully spacey chorus that brings to mind a whole mix of sounds, there’s elements of XTC, some Canterbury scene and a whole summer of ’67 vibe carrying through the sound.
A perfect way to introduce yourself and it makes a massive impact as you listen to it.
Going Back, showcases how the band works with each other, the Paperweight Array being an old school power trio, with Aaron on guitar, vocals and keys, Just on bass and keys and Dunc on drums and percussion.
Listening to the mighty sound they make you wouldn’t think there were only three of them!
Again there is a lot of power in the riffs and the interplay between all three of them is one of the EP’s strengths, you can tell these guys know how to play, and more importantly know how to play with each other to bring the best out of them.
Corporal Cameo is a neo gothic old school psychedelic story, with some fantastic lyrics, and some wonderfully trippy keyboard sounds, and another one of those brilliant guitar riffs.
Listening to their sound and performance on this one, and you’d think Corporal Cameo was a lost 60’s psych classic that Stuart Maconie had dug up for his Freak Zone on BBC Radio 6.
This is a fantastic introduction to where the band are coming from, and it has to be said encapsulates in the most positive way the small town atmosphere that has led to the creation of some of the most exciting music in the UK, and indeed probably throughout the world. Whilst it’s wonderful in this digital all connected age to be able to see beyond your horizons at the touch of a button, I wonder how much of an impact that will make on all the small town musicians sat in their bedrooms, using music as an escape?
Transmissions from a Distant Star is available here
Following on from their surprise release of The Second Brightest Star, and coming up to their sell out gigs in October, I managed to grab a chat with Greg Spawton and David Longdon of Big Big Train, together through the magic of Skype (eventually, my technical ineptitude aside) to talk all things secretive, live and the next stops on the line. This interview was conducted prior to the announcement of next years debut European gig at Lorelei, hence some of the secrecy!
(photo by Lorraine Poole)
Lets start with the surprise album, how did you manage to keep that one a secret?
Greg ‘We don’t know’ laughter ‘We thoroughly thought the cat would be out of the bag’
David ‘We didn’t think we’d be able to keep it quiet, because in this day and age it’s ver4y difficult to keep this sort of thing quiet, but we did, and we were expecting the bubble to burst at any moment, thankfully it didn’t and the surprise wasn’t spoiled and it was released on the day that we intended, which was the summer solstice’
Greg:’ It presented a few challenges for us, David and I talked about this before because other artists have done surprise albums, and they’ve had non-disclosure contracts for people to sign, obviously we don’t have the muscle to get that thing agreed to, so we had to try to create a strategy where as few people as possible knew about. But still before the day of release 30 or 40 people across the world knew about it, and we thought any one of those could mention it, but nobody did. It was very heart-warming that we kept it secret but to be honest I don’t think we’d do it again it was very stressful. It’s more difficult doing it that way than having a pre-order campaign’
When did you have the album?
Greg ‘To be honest we were working in parallel with the songs on Grimspound, we probably discussed it December or January, it was a long time ago’
David ‘ We originally thought about doing an EP, once Grimspound started to take shape, and we knew what we were dealing with we thought some songs that were part of the cycle, didn’t fit on Grimspound. Grimspound has such a strong identity, as indeed did Folklore. I guess they written around the same time, whilst some of the songs on Second Brightest Star were purposefully written for this release. We knew that we’d got another album in our sights, we could have released Grimspound as a double, but we’d like the idea of a different album. We plan these things well in advance, you have to’
Greg: ‘At one stage Grimspound was stretching out to 75 minutes and that’s when it started to feel unwieldy. Possibly we could have dug our heels and said ‘lets make it a double, do it that way’. But as I said before whenever we make an album we try to make it flow, like a proper collection of material that belongs together. However we sequenced the very long version of Grimspound it didn’t quite flow how we wanted it to, so we took a few tracks off. Which enabled us to write a couple of other pieces which enabled the Second Brightest Star to flow, in fact I think it flows as well as anything we’ve ever done.’
It forms a loose trilogy,
David ‘It forms the conclusion of the trilogy, which is what it is’
Greg ‘It’s a bit messier than that because the Wassail EP before all this had a couple of tracks on it Lost Rivers of London and Mudlarks, they’re part of the trilogy songs, I think you know the problem is, you make a number of decisions. If we’d thought it through two years ago to the nth degree we would have done things slightly differently, but you make these calls as you go and things evolve. Grimspound evolved from a companion EP to a full-blown studio album, and a similar process happened with the Second Brightest Star.
David and I we did the bulk of the writing, but there’s 4 other people writing in the band now, and so there’s a lot of material. It’s not a neat process, you don’t start writing for an album and then stop, there’s always a bit around the edges where things flow and that’s where we found ourselves’
David ‘ Not only that, the band was changing as well, the music was developing and aside from the bands career was developing, there were lots of different drivers, lots of accelerants. Grimspound turned out to be very much it’s own thing, it’s a very progressive rock album for prog fans, and is very much pitched in that arena, whereas Folklore was much more subtle. They’ve all got their own flavour.’
I do love the fact that on the Facebook page people are trying to come up with track listings if you were to put all the albums together.
Greg ‘It’s interesting, I’ve screenshotted one of those because I wonder how we would do it if we were, we did go through that process with Full Power, which took a lot of thinking to make that a coherent release. When I look at the length of some of the play lists that these people are putting up, and it’s three hours and more. It’s very difficult to make something flow over that length of time. Maybe if we get some downtime we’ll put a Spotify play list up which shows the album as we would have released it if that had been the plan from the start’
Now you’ve snuck out the Second Brightest star to surprise us all, I suspect you’re working out the set list for the London gigs’
David ‘ We’re practising at the moment aren’t we Greg, so it’s making songs that we’ve written go into our brains’
Greg ‘It’s learning stuff, learning songs we haven’t played before, and reminding ourselves of songs we have played before if we are playing them again. It’s getting them stuck in. One of the problems David and I face is that we play four or five gigs a year, if that and therefore we haven’t got the muscle memory of doing 100 shows a year, so when preparing for these gigs it’s a longish process, about two or three months of getting it under the fingers or into the throat. That’s our plans for the next two or three months. I would love to tell you we’ve got another album coming out on Friday but that would be a complete fib (laughter) ‘
David ‘the nicest thing about doing it the way we do it is that each session of shows are entirely bespoke, it makes them events. It’s not a question of ‘we’ve got a set’ and we’re going to wheel it out again and again and again until we can’t do it anymore. We’ve got lots of material, there are a few things that we played last time that we’ll play this time, but we’ve a wealth of new songs as well. There’ll be things from the English Electric albums and then songs from our canon that we want to get out and air. That’s exciting as well’
With the shows will there a companion Blu-Ray/CD release as well?
Greg: ‘Yes we’ve got a full film crew, as you know we filmed the Kings Place gigs and they came out really well, we were quite surprised to be honest as we only filmed them to maybe put a few songs up on You Tube, but Pete Callow is a very clever director and he made the most of the fairly small set up in Kings Place.
It’s interesting, I had a conversation with Pete a couple of weeks ago, and he was giving us the options of how grandiose we want to be. The starting point is that this is a gig. It’s not a show that’s being filmed with an audience there, it is a gig for the audience and they are the ones that count, so we’ve forbidden anything like any crazy wires across the stage, we don’t want anything that we’re filming for the TV to disturb the live audience, so the film crew have to be in the background, so people don’t find it’s getting in their way’
The plan is for it to be a more ambitious camera set up, so that we’ll have plenty of shots, David and I are very similar we don’t like fast editing. It gets very dizzy, but there are things we’d like to see in there, if Danny’s playing a nice keyboard solo I’d like to see it. We’ll just make sure we have cameras that can capture the moments so we can get a nice film out on Blu-ray’
(photo by Simon Hogg)
Of course with the size of the band, and the logistics, working this way is a better approach for the band?
David ‘Logistically it’s an expensive thing to organise, everything costs money’
Greg ‘It is, it’s all about logistics, at the moment we’re doing everything ourselves. Everything is in house, and we know that can’t continue because in 2019 we want to do a couple of small tours in Europe and England, so that will take things to a level where we need somebody else to blame when it all goes wrong, and at the end of the day the band members and the crew need to be focused on their jobs and if we’re getting drawn into organising things the shows become very complex.
Which is why the strategy we’ve had, OK it’s a pain for people to travel to London from up and down the UK and abroad, but this is the way that we’ve been able to play live and is something that will change in the nearish future, but for now it’s the most sensible approach for a progressive rock band in 2017.
David ‘It’s amazing place to come from all over the world, it’s a capital city so it’s not just coming to see a band in place, it’s coming to see a band in an incredible city’
Are the gigs all sold out now?
David ‘yes they are’
That’s pretty good going isn’t it?
David ‘its amazing, when we were looking at what do we do next after Kings Place, there were no guarantees, because those shows went so well. I mean we’re still at the place where it could end tomorrow, it’s very much belt and braces. How much is too much when it comes to capacity. The last ones were 450 seaters; these ones are 900 seaters’
Greg ‘ David’s exactly right; there’s optimists and pessimists within the band, suggesting larger venues. Pitching it is very important, we felt we’d take a step forward and it’s gone really well in terms of sales. It’s gone really well, who’d have thunk it really? We were excited to see Kings Place out, and to do this at the next level up, its pinch yourself tine really’
David ‘We want to get out and do it, because Kings Place went so well, when we play live its very much our time, with our fans in the audience and it’s there time with us, and I’m really looking forward to playing this material with them. It’s sounding great in rehearsal and we’re only just scratching the surface of it. I really can’t wait’
(photo by Willem Klopper)
You’ve released three albums of fresh material in a short space of time, and you have an impressive back catalogue, how do you decide when you look at the songs, and think right, what are we going to play?
Greg ‘I’m trying not to give anything away as people get upset if set lists get printed ahead of time. One of the things we started with is that the audience is a lot bigger this time, and there are a lot of people who have never seen us before. We have got a huge back catalogue now, and as David said it’s quite exciting to play stuff live we’ve never played before so we could have started with a blank sheet, which would have been exciting. But I expect a few fans in the audience would have been thinking ‘I wanted to hear that’ so you start with a process where you look at the essential live tracks that Big Big Trains want to hear at this stage in career, which may change as new albums come out and then you look through albums old and recent and select stuff you think will be good live and create a balanced set list. As you know we’re a band all over the world and there’s lots of emails flying round with various suggestions, rejections and approvals.
Maybe David would disagree but I thought the set list came together very easily and it felt to us that the songs we play in September and October are the right ones for us to play at this time, and moving forward we will add to those’
David ‘the set feels good, it’s balanced, I remember speaking with fans in the foyer in Kings Place I was making a mental note of some of the things the fans were asking us to play, and when they coincide with the ideas that we’ve got its great. There’s one track in particular that came from that angle, a lot of people mentioned it to us, and there’s been a few things like that in the set’
Of course you’re heavily involved with the whole fan base with the group on face book
David ‘It’s a two-way thing; we wouldn’t be playing in places like Cadogon Hall without that support. We are there because of them; we can’t afford to do it on our own. The bands grown because of the fans and it’s down to them, it is a two-way thing. We’re very grateful, which is how it should be’
When you look at other discussion groups online, it’s a good-natured place isn’t it/
David ‘yeah, you’ve got to protect that ethos. There’s some incredibly jaw dropping things going on in the world at the moment, and in society that make you scratch your head and wonder, but we try to make it what it is. A bit of haven from all that. It’s not that we aren’t interested in political events around the world, we are, we’re very interested and in political events at home, but there’s a time and a place for it. It’s not for a progressive rock forum, not as far as I’m concerned and not for Big Big Train’
Do you have longer terms for the band, thinking two or three albums ahead?
Greg ‘we know the next album title, we know some of the songs that are going to be on there, David and I we’ve discussed working those things out. We know what we’re aiming for and taking the ethos of the material that we write into foreign places, literally writing about things that are moving away from England a little bit, which fits in with our career profile, certainly in terms of gigging. We’ve got plans through to 2019, and I have no doubt that we’ll be able to bring those to fruition.
That’s one of the nice things about being in Big Big Train in the last four or five years, is that whereas 7 or 8 years ago we’d talk about things and they’d feel out of reach. Now we talk about things and they feel achievable and doable and that they will happen and happen in a positive way. It’s like a fulfilment machine; it enables us to get our musical material in front of people and heard by people. That’s what songwriters want really and that’s what its all about. You can sit in your room and write stuff but if its not getting that approval if you like of people listening to your music, liking your stuff, your music and your lyrics. But we’re careful planners, we know what month and year the next album is coming out, and I suspect if we went away for a few weeks we have got about an hour of material if not more already written, and we’d get the songwriting process done to make it the best album we can’
Coming to the songwriting and structure of the albums, I know earlier you said a 75-minute Grimspound didn’t feel quite right, do you have an optimum time for an album?
Greg ‘that’s a good question, obviously albums in the 60’s/70’s etcetera were defined by format, the comfortable vinyl length defined the album length and there wasn’t much going beyond late 40’s/50 minutes. About 45 minutes seemed the perfect album then, I think there’s something in that. I know when CD’s came out and albums became a bit bloated I thought. Anything around the 40-50 minutes can be a sweet spot. But if you feel as a band you have a lot of strong material and it sits together, then length is no object so we found our recent albums have been coming in at around late 50’s 60 odd minutes, and that for me is where they work. It depends. I suspect our next album will have a couple of hours material to choose from, and we may decide to make that double album we’ve never done, or we may decided to pin it back to 40 minutes. Those decisions will be made when we have the material in front of us, sift it and see how it all fits together’
David ‘the good thing about being an independent band is that we can have ideas, we can action them. Not only that is the speed of the action, the turnaround. We’re not waiting for permission or going cap in hand to a record label for an advance to go and do something, we go and do it ourselves. We say wouldn’t it be great if we did this, or wouldn’t that be cool. We make it happen. It is an amazing position to be in. I love the fact that the ideas can flow, as they should, they are unhindered; it’s a really positive thing. There’s no shortage of ideas in Big Big Train, that’s the nice thing about it. We’re a band who have plenty of thoughts on what we do, what we’re doing next and why we’re doing it so, long may it continue’
(photo by Simon Hogg)
I know Greg earlier you said about the difference between 2007/2008 and now where you say yes we can do it, what do you think has caused that change?
Greg ‘getting the right line up was really crucial, as you know the band has a long back story, and I don’t think I was writing terrible songs in the early 90’s or whenever, but that I needed to be working with an equal to get those songs as strong as they could be, and deliver them in a beautiful way. In 2007 Nick came into the band and David joined in 2009, and there’s no point in hiding from the fact that David brings a really high end voice, but he also brought with him songs, and an ethos which worked well with my ethos, and we found ourselves particularly the two of us as real brothers in arms in terms of working together and we decided to expand and become a full band again, David was suggesting people like Danny etcetera who came into the band and we’ve just been able to make sure the right people are there to do the right things, which works for the band. Then there’s a momentum of its own, you get the right people in writing good stuff, then the momentum takes over. As David said having that freedom to define out own destinies has been extraordinary. I mean we have been offered many record deals, but it would have to be a stunningly beneficial deal for us to depart from being a self managed and self financed band where we are today, because I don’t think we’d be able to make those decisions in the timely manner that we do today, I think it would change things. I think we’re interested in Steven Wilson’s move, as he feels he needs to be on a bigger label for more people to hear his music, and I’m fully behind him on that call, but for us right now, doing what we do together as a group of people feels like the right thing for us. It’s been a long haul, especially for me, right now we’re in a really good place and I can’t wait to play for people again, and for people to hear material over the next couple of years’
Touching on Mr Wilson, he’s remixing albums into 5.1, if it were viable would you want to pick an album from your back catalogue and remixing it into 5.1?
Greg ‘The Underfall Yard is a very important album for us, it was the first album David was involved in, he joined the band, it was a relaunch, it’s where we started writing about history and landscape and is where it all came together really, in 2019 that will be the tenth anniversary of that album, so I imagine when we play live we’ll be doing a number of songs live from that album, and we’ll be doing a reissue, it’s never been available on vinyl, and there’s definitely demand for a vinyl release and we will be doing a 5.1 release as well, 5.1 is interesting, you need that critical mass of fans to warrant the remixing and producing discs in 5.1. I’m not 100% convinced we’re there yet to do it for every album, but it’s something we’re keeping an eye on, and as the fan base is growing its something that will happen when the time is right. We’d all love to celebrate the Underfall Yard in a couple of years and that’s ripe for 5.1.’
What about a full performance of the Underfall Yard?
Greg ‘There have been conversations, I know some bands go out and play full albums, and it’s about 52 minutes so it wouldn’t completely dominate a set, maybe do one set Underfall Yard and the other something different, but I’m not sure yet. If we do that we’ll advertise it that way so people know what they’re coming to see’
Have you been to the Underfall Yard recently?
David ‘We’ve been down to the SS Great Britain, have you been to it?’
It’s on my doorstep so, I had some guided tours round there before they started the renovations, and we walked round where the new bit brings you in front of the Underfall yard and the pump house,
Greg ‘I will have to get back, I walked near there the last time I was in Bristol, but as David said the last time we were down there we were at the SS Great Britain that was around Far Skies Deep Time,’
David ‘The first pictures with Dave Gregory’
Greg ‘Of course, we picked Dave up and had some pictures done on the SS Great Britain. I love Bristol, my sons just been at the UWE, it’s a very cool place as you know’
Its got plenty of great venues as well, not that I’m dropping any hints..
Greg ‘there’s one I looked at in a church, a 4 or 500 seater, and when we do 2019 Bristol will be on the tour’
David ‘Fleece and Firkin, that what you want isn’t it?
Fleece or the Thekla
Greg ‘I saw the Lemon twigs on the Thekla, it’s a bit sticky floors for us, we like our seated venues, our fans must concentrate when watching Big Big Train so we like them to take the weight off their feet (laughter)
David ‘If it sinks while we’re on board we could play Abide with Me as it goes down, or we could do the Star and Garter, that’s another one’
So your talking about widening your musical horizons on the next album, and stepping away from England, are there other things inspiring you to write differently?
David ‘As we said earlier we work well ahead, and there’s always stuff around, you read stuff, you speak to people. There’s always more to be done, the nicest thing about it is as well. Big Big Train is a band that can share the load, so it’s not a mammoth task for one person to be doing. I know some bands have one person that writes everything and works on everything, at least the way our model is if you like, having multiple writers means if people are able to do stuff it liberates and takes the pressure off. There are always plenty of ideas. Plus this is progressive rock, so all the crazy ideas can be used further down the line. If we were in a more restrictive genre like deep house or something like that we’d be very limited on the ideas we could have. I’m not interested in that sort of stuff, so prog it is’
(photo by Lorraine Poole)
Do you find in the past few years prog has stopped being a dirty word?
David ‘yes, it has, there’s nothing quite like announcing you’re a progressive rock musician defiantly, challenging them with your eyes and they go ‘what’s that then?’ Some people still cling to the past about progressive rock, it got a very unfair beating and a lot of things that were upsetting people aren’t in place anymore. You don’t have to be a rich man to make progressive rock music, you just need access to a desktop computer, plug ins, things like that. You don’t need to own a mellotron to write for one. It’s been very liberating. But that’s not why we do it; we do it because we love it. I’m a singer and a songwriter, Greg’s a songwriter and we’re all musicians and this how we choose to express ourselves’
Greg ‘For us it’s a very liberating genre, the boundaries are very wide, and it enables us to do things we want to do. The fact that its now no longer music that dare not speak its name, is great, Prog magazine have had a lot to do with that, websites like yours have a had a lot to do with bringing people together and celebrating it. Turns out the original wave of bands in the seventies had a sense of humour after all, they were not po-faced about it, they were doing what they wanted to do and things got out of hand a little bit. I think the good bits of the genre are worth celebrating and are celebrated. As David said music making is democratised now, you don’t have to have a Hammond organ and a full mellotron to be able to make music. It’s not a rich mans game. There’s no reason to diss prog rock. One of the things we found before Christmas with the Classic Rock, Metal hammer, Prog magazine suddenly looked like they were going out of business, was that camaraderie in the rock community, we all stood together as rock fans, not prog fans or rock fans, just music fans. It doesn’t dominate the charts like it did in the 70’s in any way shape of form, I think we all agree that rock music is a form that’s worth maintaining, and there’s great rock music being made these days, but it doesn’t have the weight or the power that it did, and it brings people together’
David ‘I was reading an article the other day about the death of the electric guitar and how sales are plummeting, you won’t get those stories of the kid going into the shop, getting his electric guitar and the rest being history. But sales have dropped off for the time being. Does it mean something? I don’t know. Dave Gregory’s got them all!’
Greg ‘there’s none left out there at the moment! There are cycles with it, the thing is there’s an awful lot more that people do with their time now, people are into gaming, watching boxed sets. But in the seventies and indeed the early 80’s there were fewer things that people could do as a creative hobby, and therefore people gravitated towards making music more easily. Now, on the one hand music’s democratised and more people do it cheaply, but it seems that rock music is suffering from that. It may be an indication that there are different times ahead, or it may just be a blip.
Who’d have thought that vinyl would have come back?
When Chris Topham approached us about releasing our stuff on vinyl I think we had a bit of a giggle, it didn’t seem to me in anyway to be a sensible idea, and now we would even consider a new release without factoring in the vinyl version, these things do go in cycles’
David ‘The world of the hipster, I am far too folically challenged to be a hipster’
Greg ‘I wish we were part of the world of the hipster. We’re too old and gray around the gills. It seems to be cool again. Ironically when I went to school with a copy of a prog album under my arm on vinyl I was looked on, as a bit of a bell end, but these days a hipster would do such a thing. It’s funny how things change’
Maybe the difference is they have the courage of their own convictions’
David ‘The weight of their own beards’
Greg ‘their convictions are the weight of their beards.
I remember going to school in the 90’s with prog stuff and that was a definite no go,
Greg ‘You are a man out of time’
It was dead handy growing up in Rotherham in the mid 90’s though
Greg ‘The classic rock society’
David ‘I don’t know about you, as I’m near Nottingham that you kind of ripples of the music industry, looking at Sounds or the NME at these new trends, it seemed to me that rock music sang to the soul of the midland male type of thing, it did. Its never stopped singing to me, it never stopped resonating. I still get excited by it, I think I’m a lifer’
When we write songs for Big Big Train, we’re not extending them for the sheer hell of doing it, we like the extended song format, we like the ideas, the modulations, the keys, the instrumentations, the ideas, there’s a lot of thought goes into that, and we’re lucky in the band that there’s a lot of muscle in terms of musical arrangements and people are able to bring a hell of a lot to these compositions’ Its brilliant, we make the music we want to make and make the music that we love and when you asked earlier why did it work, what made it successful I like to think that hopefully its because we did what we love, and that people picked up on it and they could sense the authenticity to the intent of the music and we care about what we do’
It comes across in the artwork, the music, the sleeve notes, and the whole package, there’s a level of sophistication and care,
Greg ‘You’re absolutely right, you’ve got to get it right, starting from the first bit of music we write to the moment it’s realised we’re trying o make people see that Big Big train does care, and you know that there is a quality threshold that we will always be above. It’s not a question of me or David saying we would never want to, but we won’t just walk blindly into making an album that we’re not 100% behind. Its what we live and breathe for, and to find that we’ve got an audience for that at this stage in our lives is absolutely brilliant’
David ‘We are grateful and it’s a two way thing, definitely reciprocal and one thing fuels the other, its great’.
Many thanks to Greg and David for their time, and of course for taking us along on their amazing musical journey.
V: Hävitetty bridges folk metal with an intense dose of symphonic black sound. With songs clocking close to thirty minutes, it’s quite progressive. Moonsorrow elegantly layers their folk compositions with some rich symphonic keyboards. Songs do take the frequent detours down the rabid blast beat-tremolo picking passages, but consistently maintains that mythological theme. In short, listener should be ready to get teleported to the land of legends and poetry – of ancient Finnish folklores.
“Jaasta Syntynyt , Varjojen Virta” starts with the sound of scorching wood and progresses headlong into an absolute death like aggression — peaking right around the 7 minute mark. Sound of the crackling fire shapes the essential lull Scandinavian winter like ambiance. Song leads to more folk instrumentation, but it’s always interleaved with some biting extreme sound. Mid-paced riffs, screeching black metal vocals and that restrained sonic onslaught — all makes for a captivating thirty minutes.
“Tuleen Ajettu Maa” starts with two minutes of eerie chants and guitar strumming, but rather quickly explodes into riffs. Even here the pattern of composition remains the same – folk instrumentation building up to some aggressive passages — but finally receding back into mellow sophistication.
Scorching firewood, whistling northern winds and pagan chants — all tend to conjure up vivid mystical imagery — almost like we are reading high fantasy. Finnish lyrics, mandolin, accordion and mouth harp – all essential folk elements layered with an Emperor like symphonic artistry. A mandatory listen.
By Cecil (Own work) [<a href=”http://creativecommons.org/licenses/by-sa/3.0″>CC BY-SA 3.0</a>], <a href=”https://commons.wikimedia.org/wiki/File%3AMoonsorrow_MTR_20110617_23.jpg”>via Wikimedia Commons</a>