Album Review: Big Big Train’s “Welcome to the Planet”

Big Big Train - Welcome to the PlanetBig Big Train – Welcome to the Planet, January 28, 2022
Tracks: 
Made From Sunshine (4:05), The Connection Plan (3:55), Lanterna (6:29), Capitoline Venus (2:27), A Room With No Ceiling (4:52), Proper Jack Froster (6:38), Bats in the Belfry (4:54), Oak and Stone (7:12), Welcome to the Planet (6:41)

Perhaps it’s a strange quirk of fate that the album Big Big Train releases after the tragic death of David Longdon is one of their most upbeat albums to date. It’s a very positive album, much like 2021’s Common GroundWelcome to the Planet sounds even more hopeful, more full of life, and more accessible than ever. It’s a more than welcome antidote to the insanity of the world today – insanity amplified by David’s death.

“Made From Sunshine” is a beautiful opening to the album, giving us a jolt of energy to start us off. It isn’t a Big Big Train anthem like past album openers, but it has a similar upbeat feel. Come to think of it, none of the tracks on this album fall into the anthem category. “Made From Sunshine” is about the joy of parents as they look at their newborn child and enjoy that child’s early years. The name of the song and the accompanying lyric was inspired by guitarist Dave Foster. In a track-by-track overview of the album made in October, David Longdon commented that when he first met Foster in studio in November 2020, he commented to him that he was a ball of energy. Foster told him that his parents told him when he was a child that he was “made from sunshine.” The song features a vocal duet with Longdon and new member Carly Bryant, pointing to new developments in the band as they grow with new musicians in the fold.

Big Big Train – Made From Sunshine – YouTube

Fans of Nick D’Virgilio’s vocals will love “The Connection Plan,” which features him singing both backing vocals and lead on the bridge. I think I can hear Rikard singing on the bridge too, as well as what I assume is Rikard’s Hammond organ swirling around.

“Lanterna” sounds like it could have been on any of the band’s albums with Longdon, or at least any after The Underfall Yard. This song was originally supposed to be part of “Atlantic Cable” on Common Ground, but Greg Spawton decided to split it into a separate track. The song is about an historic lighthouse, with the lyrics about the idea of lighthouses shining light into the dark. It brings in the history element Big Big Train is known for, but it’s more subtle this time around. Rikard has some stellar guitar licks, which really pump the song up starting about two minutes in. Greg’s bass brings a booming deep end over Nick’s drums, with piano and violin periodically popping up. Carly’s piano matches the theme of the song really well.

By now you’ve probably heard “Proper Jack Froster,” which the band released several months ago in advance of Christmas. It has everything Big Big Train is known for. It’s pastoral and nostalgic with a warm feel throughout. Longdon’s vocals are emotional, with his delivery really stealing the spotlight. The vocal harmonies add to the overall mood, but David is the star here. We also get a solo vocal from new band member Carly Bryant, whose warm and bluesy voice fits the song rather well. The guitar work and of course Greg’s bass also get their opportunity to shine. While this might be considered a Christmas song, it isn’t overtly connected to the holiday, meaning it can be listened to all year.

Big Big Train – Proper Jack Froster – YouTube

Some might call this album pop, but calling something “pop” has the same problems with calling something “prog.” People never seem to define the word. For a progressive rock band or artist to “go pop,” they have to give up the soul of their sound. Becoming more accessible doesn’t necessarily mean a band is going pop. In that regard, I don’t think Welcome to the Planet is pop at all. It’s pure Big Big Train, with the only track that sounds drastically different being the title track.

By accessible, I mean the songs are all on the shorter side, and they take on a more traditional song format. For the most part, the lyrics depart from the band’s storytelling, but that isn’t new for the band. They’ve written these kinds of songs before, although they’ve never really made a whole album of them. The storytelling is still there, but as I mentioned about “Lanterna,” it is more subtle. I expect Welcome to the Planet will reach a wider audience because in many ways the record sounds more traditional. I don’t think that makes it pop, though.

Just listen to an instrumental like “Bats in the Belfry” and try to tell me that’s pop. D’Virgilio pulled out all the stops in writing this track. It may be short at under five minutes, but it has both slow and quick sections. Greg’s bass is front and center in the mix, as well it should be. Close listeners will pick up on elements that Nick used in his drum solo tracks in their last tour. The album actually features multiple instrumental tracks, so while there may not be any long epics, there’s still a healthy sprinkling of Big Big Train’s proggiest moments.

Big Big Train – Bats in the Belfry – YouTube

The album has its more sedate moments, such as “Capitoline Venus” and “A Room With No Ceiling.” The former is a love song Greg wrote for his wife. It originally appeared as a demo in the Passengers Club with Greg on vocals. I remember thinking when they first released it how good of a track it was, and I’m very happy to hear a completed version of it with David on vocals. It’s a smooth, touching track that David’s voice breathes brilliant light into. I actually rather like the raw honesty that Greg’s voice has in the demo, but David had the best voice in the business. Nothing can compare to that. The song features just David on vocals and Greg on acoustic guitar and synths. I can just imagine the rest of the band leaving the stage and the two of them playing this track front and center stage. It would have been beautiful.

“Oak and Stone” is another calmer track dripping with Big Big Train nostalgia. There’s a piano moment that takes me back to “East Coast Racer.” The opening bass to the instrumental “A Room With No Ceiling” is a great reminder that in addition to being the greatest lyricist in prog today, Greg Spawton is also one of the finest bassists out there.

The biggest deviation, or progression, in the Big Big Train sound comes from the title track, placed at the end of the album. “Welcome to the Planet” is Carly Bryant’s debut song for Big Big Train. She wrote both the music and the lyrics, and it’s unlike anything the band has ever made. It’s a great song, but if you’re a longtime fan of the band, it will stand out quite a bit. I don’t know if I would have liked an entire album from Big Big Train made in this style, but it’s a pleasant change that still features the BBT flair, including the brass band. David begins the vocals, but Carly quickly takes over and sings for the rest of the track. She even brings a bit of blues grit in at one point. The smooth section with vocal harmonies singing “welcome to the planet” is a beautiful moment on the album. I think the song would have been better served ending with a fadeout of this rather than the somewhat abrupt ending it has, especially since they chose it to close the album. It’s a bit of an odd ending, with the line “Aunty Carly’s singing lullabies to all the children that she never made,” and ending with Carly sighing. Clearly a personal note, and a bit sad all the same. The lyrics are somewhat dark, but they’re honest, something Big Big Train has always been. In hindsight, with David’s passing, this song might better be served elsewhere on the album, since David takes a back seat on this one. But aside from that, it’s a bold choice for the band to mix up their sound and to end the album with this song. Overall it does work, and I find it ends up being the most memorable song on the album.

The band released this live acoustic duet version with David and Carly yesterday, although the album track has a much fuller sound. If you’d rather go into the song hearing the original first, then watch this after you’ve had a chance to listen to the album.

Big Big Train – Welcome to the Planet (live acoustic version) – YouTube


While overall the album sounds more accessible than Big Big Train’s past records, I find when you break it down song-by-song the tracks could each fit on any of the band’s albums from the last decade, except perhaps the title track, which brings with it the influences and tastes of a new band member. Simply put, Welcome to the Planet is another excellent album by Big Big Train. It has a very different feel from Common Ground, which I think adds to my enjoyment of it. This isn’t just an album of b-sides that didn’t make it onto that record. I like every song on the album, and I know it will make my best-of list come the end of 2022. Whatever the future may hold for Big Big Train, they can be proud of this album.

RIP David.

https://www.bigbigtrain.com

Big Big Train Releases Short Film Tribute for David Longdon

Big Big Train released a short video tribute to David Longdon today featuring the song “Capitoline Venus” from their upcoming album, Welcome to the Planet. The film was made by Christian Rios. A demo of this song was released on the Passengers Club earlier this year, featuring Greg Spawton on demo vocals. I was hoping we would get a finished version of this song with David on vocals, and he sounds absolutely wonderful. A beautiful song for heart-wrenching times.

https://youtu.be/Jm2xJfXDibc

Theo Travis – “Brilliant Trees” Featuring David Longdon

I’m not sure how I missed this one earlier this year, but Theo Travis released a song featuring David Longdon on vocals. It has a totally different feel than Big Big Train, and Longdon’s voice takes on what could be called a crooner tone. He could have held his own in the rat pack!

The lyrics to “Brilliant Trees” are rather haunting, but as it gets to the end it becomes rather heartbreaking. [Edit: “Brilliant Trees” is a cover of a David Sylvian song.] As he walks away from the camera into the trees, we know he won’t be coming back. Travis’ Duduk playing seems to have a dirge quality to it, especially in light of what has happened.

Theo Travis (Featuring David Longdon) – Brilliant Trees – YouTube

Tears Enough To Fill The Tyne: Remembering David Longdon

I couldn’t believe my eyes when I stumbled across Prog magazine’s tweet announcing David Longdon’s death yesterday. I still can’t believe it. 56 years old and at the height of his music career with so much to look forward to. Life is so precious and so brutally short. To be taken so quickly and so unexpectedly… We’ve lost a lot of prog legends in recent years, but very few at the height of their careers. Piotr Grudziński from Riverside is the last I can remember who died so unexpectedly at a young age.

David and the band have been such kind supporters of Progarchy since our inception in 2012. Our site has had the fortune of interviewing him a couple times including this past summer when he gave a lovely interview to Rick Krueger. In that interview David shared his excitement for the band’s future plans. His thoughts on the song, “Common Ground,” really sting now that he’s gone:

This time in my life – I’m now 56.  It’s time to get on it, because we don’t have forever!  This was written slightly before the pandemic actually, the title track.  But it’s just about that, really; it’s about claiming it!  It’s not about “will we find it?”  It’s “you’d better find it and get on with it, because you’re not — it won’t be forever.  We don’t get forever.”  That’s the beauty of being human, we don’t get forever.

I can still remember the first time I heard Big Big Train back in 2013. I was sitting in my dorm room in college. I think it was “The First Rebreather,” and I remember being captivated by David’s voice. So pure. So effortless. The tone of a fine pipe organ. Over the next few years I fell in love with Big Big Train, and by 2015 they were my favorite band of the “new” wave of prog. Now they rank next to Rush as my favorite band of all time. There was nothing David couldn’t sing, as he proved on Common Ground by mixing it up on “All The Love We Can Give.”

My journey as a Passenger reflects my journey with progressive rock over the last nine years. What started as an appreciation for bands like Rush, Kansas, and Styx grew into an obsession with progressive rock new and old. Thanks to friends here at Progarchy, I’ve been exposed to so much music, much of which has quite literally changed my life. I know Big Big Train has. I’ll never forget listening to English Electric on a bus in England while I spent a month there doing archival research. It was one of those key moments that sticks in my memory, and David is the voice for that memory.

David’s addition to Big Big Train in 2009 marked a major turning point for the already 20-year-old band. His voice, in my opinion, is unmatched in the music world. I can’t think of a better vocalist. Beyond that, he was an excellent lyricist and musician. The combination of Longdon and Greg Spawton as writers is certainly unmatched in music. Others might have more acclaim, but none are better.

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My Big Big Train collection

David wrote two kinds of songs: stories and anthems. Being an historian, a curmudgeon, and a prog snob, I generally prefer the stories. But his anthems are far too good to be ignored or dismissed. He had such a bright and positive outlook on life, as evidenced in his song, “Alive.”

Sunrise
A new day
Bright blue sky
Open the door and step outside
Feel the wind at my heels
It’s good to be alive

These lyrics are a good reminder for a grump like me not to take anything for granted. Perhaps David’s legacy can be summed up in his own words:

I’m a travelling man
Each day I walk the byways of this life
Till I’m dead in the grave at the end of my days
I’ve known what it means to be alive

He ended the liner notes for “Alive” with the admonition to “seize the day.” Tomorrow isn’t guaranteed for any of us.

Big Big Train – Alive – YouTube

There aren’t many vocalists out there who can bring such power and emotion to the seemingly mundane. He brings adults to tears in songs about steam trains, pigeons, and shipyards through his powerful delivery.

I re-watched Empire last night, and I was reminded yet again what a brilliant showman David was. For whatever reason, the song “Winkie” has always hit me right in the feels. Maybe the story of doomed men being saved beyond hope because of the humblest of creatures does it for me. Watching the band perform that song now with the knowledge that David will never sing it for us again was really moving. I’m glad the band filmed their concerts so that we could all enjoy their live performances. I don’t think they could have imagined that we would so soon be using those Blu-rays to remember David. I’m incredibly sad that I’ll never be able to see him perform live. I was looking forward to them playing in America.

Another song of David’s that comes to mind in remembering him is “The Florentine” off 2019’s Grand Tour. The track is about Leonardo da Vinci, but these lyrics could easily be said of David:

You showed us
New ways to know our world
Of what we see and all we could be – ah
Inspire us to reach and spur us on
Daring us to dream – see further

Big Big Train – The Florentine [Live] – YouTube

I suspect I speak for thousands of fans who can say that David encouraged us to investigate our world and to dream – to see further.

My words could never do justice to David Longdon’s memory. His loss hurts as much as Neil Peart’s did. His voice and his words have made him a close friend to me, even though I never had the honor of meeting him. His art has inspired me to be a better man. It has inspired me to be creative, whether that be in my writing or in my painting. In fact Big Big Train is my favorite music to listen to when I paint. His music has become so ingrained in my life that I can’t imagine life without it. I’m grateful that I can still listen to his music, but now it will always be bittersweet.

I offer my sincerest condolences to the band, to Sarah Ewing, to David’s daughters, and to his mother. Thank you for sharing David with us, and I hope the outpouring of love from his many fans is a tiny sliver of comfort in these dark times.

Rest in peace, David. Thank you for everything.

Now, who’s going to tell the bees?

David Longdon Dead at 56

What an absolute punch to the gut. Prog Magazine is reporting, with confirmation from Big Big Train, that David Longdon tragically died today in hospital after an accident yesterday morning. I don’t even know what to say. This is an absolute tragedy. And here I thought this shithole of a year couldn’t get any worse.

One of the reasons Progarchy was founded nine years ago was to celebrate Big Big Train’s music, and David Longdon’s brilliance was a certainly a big reason behind that. His vocals, lyrics, and musicianship propelled the band to new heights. This is a major loss to the progressive rock world and obviously to the band.

Our prayers are with the band and Longdon’s loved ones. We’re certainly devastated here at Progarchy. Longdon was always very kind to us here, including giving us a wonderful interview earlier this year. We will miss him greatly.

Limited details and statements from the band at Prog magazine: https://www.loudersound.com/news/big-big-train-singer-david-longdon-dead-at-56

Big Big Train Release New Track: “The Connection Plan”

Hot off the release of their most recent album, Common Ground, Big Big Train released another new track today: “The Connection Plan.” Why? Greg Spawton comments,

In the lead-up to our tours in 2022, we wanted to share a series of single  streaming releases. The ‘Stay Tuned’ streaming series will feature newly recorded compositions, we hope listeners will enjoy them”.

It sounds like this track, and presumably future ones, will only be available on streaming sites for now. I wouldn’t be surprised if they end up as either a special download for the Passengers Club or on a future record or EP.

Big Big Train – The Connection Plan – YouTube

Check out Progarchy’s interview with David Longdon about Common Ground: https://progarchy.com/2021/06/29/big-big-trains-david-longdon-the-progarchy-interview/

Check out my review of Common Ground: https://progarchy.com/2021/07/18/big-big-train-common-ground-2/

And see this page for more Progarchy reviews of Big Big Train’s music: https://progarchy.com/album-reviews/review-index/b/big-big-train/

Big Big Train’s “Common Ground” – Album of the Year?

big big train common groundBig Big Train, Common Ground, July 30, 2021
Tracks: The Strangest Times (5:08), All The Love We Can Give (8:06), Black With Ink (7:23), Dandelion Clock (4:14), Headwaters (2:27), Apollo (7:50), Common Ground (4:54), Atlantic Cable (15:06), Endnotes (6:59)

I love writing about Big Big Train. In fact, they’re one of the reasons I was drawn into reviewing progressive rock on a more regular basis. They are also one of the reasons this website was founded back in 2012. Our founders understood that Big Big Train wasn’t your ordinary rock band, and the band deserved a more intellectual approach to reviews. I don’t know if I’ve been able to live up to the standard Dr. Brad Birzer set for us, but I try my best. Big Big Train makes it easier by providing such solid material to write about. Common Ground is no different. In fact it may be the best album they have released since I began writing for Progarchy. It is certainly the best record released thus far in 2021.

Common Ground gets off to a rousing start in the best way possible. I’ve never enjoyed the opening of a Big Big Train album this much. While I don’t dislike Big Big Train’s more mainstream pop-like tracks (“Make Some Noise,” “Folklore,” “Wassail”), they aren’t my favorite in the band’s catalog. While “The Strangest Times” might fall into that aspect of the band’s repertoire, I absolutely love this. The piano at the beginning is so bright and upbeat, reminding me a bit of some of the more popular artists the band site as influences on this record. However I think it reminds me more of the band’s work back in the days of English Electric. The guitar work is phenomenal, proving right away that even though brilliant guitarist Dave Gregory may have left the group, the group haven’t abandoned the unique sound he brought to the table. I imagine lots of credit should go to Rikard Sjöblom for maintaining that tone. 

https://youtu.be/i35_HcKjR18

Nick D’Virgilio absolutely hits a home run with his lead vocal sections on “All the Love We Can Give.” I was hoping we would get to hear more of his vocals on this record, and we do. Of course there is also his brilliant drumming throughout the album, which we probably take for granted at this point. This song has some blistering instrumental passages with heavy guitars and some face melting Hammond keyboards. We also get to hear a different side to David Longdon’s glorious voice, featuring the lower end of his register. The vocal harmonies at points in the song remind me of Gentle Giant and the Neal Morse Band, although this is nothing new for Big Big Train. They seem to have utilized it a bit more though throughout Common Ground than they have in the past.

As a matter of fact, the next track, “Black With Ink,” allows that to shine. We get a lead vocal from Rikard, Nick, and Carly Bryant, who joined the band for live shows, providing backing (and apparently lead) vocals, keyboards, and guitars. It’s a nice touch that the band included her on the recording, as well as Dave Foster (guitars on two tracks) and Aidan O’Rourke on violin throughout the record. 

Lyrically “Black With Ink” is somewhat close to my heart, since Greg Spawton was influenced by a trip to a museum (I work in the collections department of a history museum). After a BBT show in Birmingham, England, in 2019, Greg visited the local art museum and saw a label about the history of the collection, which suffered from a bombing raid during World War II. Spawton talks more about that song at the official Big Big Train blog for the album, but in summary it grew out of a frustration with the destruction of knowledge (book burning, destroying art, etc.). The song specifically looks at the destruction (many centuries and millennia ago) of texts at libraries in Alexandria and Baghdad. 

On the other side of the lyrical spectrum, Longdon keeps the band grounded in the present. “The Strangest Times” and “Common Ground” are influenced by the insanity the world has been going through over the last year and a half. In a recent interview, Longdon admitted to Progarchy’s Rick Krueger recently that he cannot wait for these lyrics to no longer be relevant, since we are all sick of quarantines, lockdowns, and other assorted nonsense. 

“Apollo” is an almost eight-minute-long instrumental track, and it is glorious. The song was contributed by Nick, and it grew out of material he had created at his day job at Sweetwater, a music gear retailer and production studio in Fort Wayne, Indiana. He describes this track as Big Big Train’s “Los Endos,” which I believe they achieved. It’s a beautiful song, and I can see them either closing a first set or closing a live show with it before an encore. The inclusion of Longdon’s flute was a really nice touch, which will most definitely be a hit live. It’s pure BBT, brass band and all. 

https://youtu.be/88HHhbD1vFE

“Atlantic Cable” has all the grandiosity of “East Coast Racer.” I don’t think I have enjoyed a Big Big Train song this much since ECR. Spawton’s booming bass is at Squire-esque levels of brilliance. The interplay of the guitars, violin when it is used, the myriad voices, the long instrumental passages – this is Big Big Train’s “sound” at its absolute finest. I hope when they play it live, they extend that guitar solo as it peaks toward the end.

Lyrically the track tells the story of laying the first telegraph cable across the Atlantic, formally linking the old world with the new. This song is much grander than that story, though. The story serves as a metaphor representing the commonality we all share, which supports the overall theme of the album. The track has calmer passages, but it still has the hard rocking sections that feature on the rest of the record and also hearken back to The Underfall Yard and English Electric

A song about laying a steel cable across the ocean floor was never going to be a pastoral piece of music. It needed some stormy moments, some grandeur. And it needed to be long enough to tell an epic tale. 
Greg Spawton

The video the band shared for this song in the blog for the album is hilarious. It’s a video of Nick trying to figure out how to play the complicated time signatures. It was only a matter of time before the expletives were directed at Greg (all in good humor, of course), but it’s quite entertaining. It also goes to show how technically complicated this music is and how good these musicians are that they can (eventually) play it.

The Dave Desmond brass band shines bright as ever on “Endnotes,” the final track. The hint of violin reminds us of where the band has been, but in a more subdued light.

The pastoral elements and folk elements in the band’s arsenal are pulled back throughout Common Ground in favor of a heavier rock sound, but it’s undeniably Big Big Train. It’s exactly what I wanted from the band moving forward. I never complained about the pastoral direction the band moved into because I enjoyed it, but I’ll admit that I was beginning to miss certain elements that were more prevalent on The Underfall Yard and English Electric. I don’t think any of us wanted them to start copying themselves, though. Instead they have progressed into slightly different waters, pulling together all of those elements into a truly astounding whole. The hard rock, the atmosphere added by the violin and Longdon’s flute, and those stunning vocal harmonies create a pure sound. 

Existing fans will almost assuredly love Common Ground. If you are new to Big Big Train, then this is as good a place to start as any. The album displays everything the band does so well.

Thanks Big Big Train. You’ve made a crappy year a little brighter. 

https://www.bigbigtrain.com
https://www.bigbigtrain.com/common-ground/
Album out July 30, 2021.

https://youtu.be/wIQnhCcI4gA

 

Big Big Train’s David Longdon: The Progarchy Interview

2020 was going to be Big Big Train’s breakout year in North America. Building on ten years of increasing momentum, the road first paved on 2009’s The Underfall Yard (singer David Longdon’s debut with the band) had led to five more thrilling albums, brought to life in concert by a fearsomely talented septet (and the BBT Brass Ensemble). It was official — that spring, Big Big Train would tour the United States for the first time!

Then, as with so many other events, the coronavirus pandemic brought those big big plans to a screeching halt. Shows for 2020, then 2021 were inexorably cancelled; as the enforced period of inactivity lengthened, guitarist Dave Gregory, violinist Rachel Hall and keyboardist Danny Manners left the band. While the double album career survey Summer’s Lease and the live Empire served as worthy capstones to their era, BBT’s faithful Passengers couldn’t help but wonder: what was next for founder Greg Spawton, Longdon (both pictured above) and remaining compatriots Nick D’Virgilio and Rikard Sjöblom? Had the Train reached its final destination?

Fortunately, the answer was a resounding “Nope!” With Big Big Train’s brand new release Common Ground set for release at the end of July, followed by North American and UK tours in 2022, David Longdon was kind enough to join me for a Zoom chat last week. Obviously excited by both the new album and the prospect of returning to the stage, Longdon was generous with his time and his answers, open about the toll the pandemic took on him and his beloved country, and willing to “thrash through” the intricate lyrical and musical ideas on the record. A delightful mix of familiar and innovative elements, Common Ground is yet another BBT album of exceptional artistic ambition, power, beauty and grace, and David Longdon couldn’t be happier about it! A transcript of our conversation follows the video. Enjoy!!

So I wanted to start back last year, because the pandemic threw all of us into uncharted territory.  One of the first impacts from our end, as a music fan, was that you cancelled your North American tour, Big Big Train’s first American tour.  We had tickets for the Fort Wayne show, and we were disappointed, but we certainly understood. 

But obviously, that enforced pause in playing live went on a lot longer.  How did that feed into making your new album, Common Ground?

Well, everything ground to a halt, didn’t it?   The world as we knew it just ground to a halt; the unthinkable happened!  It’s such an extraordinary time.  And it was very much like – I said so at the time — like living in like a Ray Bradbury book, or something like that. Or certainly a J.G. Ballard book, this apocalyptic times kind of thing.  “It’s awful!  Were we gonna make it through?  Is this gonna be our equivalent of whatever saw off the dinosaurs?”  That kind of stuff.

The news bulletins were horrendous.  The death rates were going up, the R-rates in the UK, they’re looking at that.  Each day the wave of fresh cases, and more worryingly, the rising death toll.  It was going up and up and up and up.  And of course, in the UK, we’d seen it coming over from Europe in the months leading to up to our first lockdown.  And we knew what was coming, because we’d had correspondences from our European friends.  Yeah, it’s the stuff of nightmares!  Very uncertain times.

One of the things that I found as a comfort would be walking in nature, being in the natural world; I always take great comfort from that.  I’d rather be outside than inside, particularly when things were starting to get a bit hairy, back in March last year for us.  Yeah, it was horrendous!

So music, writing music and going for walks in nature were the thing that kind of kept me on the straight and narrow, really.  It kept me sane.  So that’s how I dealt with it.  And through the first lockdown I was finishing off the record that I made with Judy Dyble [Between a Breath and a Breath]

I don’t see how what happened to the world in that time could have not had an impact on the record, really.  And with losing three members of a long-standing lineup: again, some of that quite possibly came to a head as a result of being a real crossroads for the band and for the world at that time.

So yeah, the pandemic was a huge impact on the album. And the band.  And the world.  And everything!

OK.  So you mentioned there were some changes thrust on you by circumstance – the band members leaving, for example.  As you and Greg and the others started writing and recording. what changes were intentional choices?

OK.  Well as I said to you, personally, from my writing point of view, rather than writing songs where in the past, something like “Ariel” I’d be researching The Tempest, I’d be researching the life of William Shakespeare.  I’d be researching the life of Percy Bysshe Shelley, and collating lots of information to make the story and make it scan as a piece of music, I just felt like I needed to write in the real world, in the now of that time, if that makes sense.

I know that, inevitably songs like “The Strangest Times,” which is very directly about the pandemic, I know that will eventually be a time capsule of that period.  But I can’t wait when it is!  I’m looking forward to that being the case!  I would say that in particular.

Continue reading “Big Big Train’s David Longdon: The Progarchy Interview”

Some Thoughts on Recent Big Big Train News

From the very beginning, Progarchy has been a huge supporter of Big Big Train, and we’ll continue to support them come what may. I think the band is making by far the most interesting music in the music industry. You’d be hard-pressed to find another band or artist making such high quality music with such profound lyrics. You’d be hard-pressed to find a better vocalist than David Longdon. 

At the beginning of the year the band released The Passengers Club, a subscribers-only site that gives hardcore fans an inside look at the past, present, and future of the band. Content seems to be provided primarily by Greg Spawton and David Longdon, as well as the band’s manager, Nick Shelton. We get demo track downloads, exclusive video content (including live footage from the earliest days of the band), blog articles, and photo albums. As a fan I’ve absolutely loved The Passengers Club. It’s been worth every penny, and it has brought some much-needed joy to an absolutely awful year.

Big Big Train – Empire Film Trailer

Continue reading “Some Thoughts on Recent Big Big Train News”

The Big Prog (Plus) Preview for Fall 2020!

As always seems to be the case, there’s tons of great music coming out between now and Black Friday, November 27. Below, the merest sampling of upcoming releases in prog and other genres below, with purchase links to Progarchy’s favorite online store Burning Shed unless otherwise noted.

Out now:

Simon Collins, Becoming Human: after 3 solo albums and Sound of Contact’s acclaimed Dimensionaut, Phil Collins’ oldest son returns on vocals. keys and drums; his new effort encompasses rock, pop, prog, electronica and industrial genres. Plus an existential inquiry into the meaning of life! Available on CD from Frontiers Records.

John Petrucci, Terminal Velocity: the Dream Theater guitarist reunites with Mike Portnoy on drums for his second solo set of instrumentals. Plus Dave LaRue of the Dixie Dregs and Flying Colors on bass. Expect lotsa notes! Available on CD or 2 LP from Sound Mind Records/The Orchard.

The Pineapple Thief, Versions of the Truth: Hot on the heels of their first US tour, Bruce Soord and Gavin Harrison helm TPT’s latest collection of brooding, stylized alt/art rock, honing in on the post-truth society’s impact on people and relationships. Available on CD, BluRay (with bonus track plus alternate, hi-res and surround mixes), LP or boxset (2 CDs/DVD/BluRay) – plus there’s a t-shirt!

Rikard Sjöblom’s Gungfly, Alone Together: Sjöblom spearheads a thoroughly groovy collection on vocals, guitar and organ, with Petter and Rasmus Diamant jumping in on drums and bass. Heartfelt portraits of daily life and love that yield extended, organic instrumental jams and exude optimism in the midst of ongoing isolation. Available on CD and LP (black or deep blood red vinyl).

[Upcoming releases follow the jump …]

Continue reading “The Big Prog (Plus) Preview for Fall 2020!”