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Review:
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Great album' is a Big Big Refrain for Big Big Train,
as their latest album "Folklore" is another stellar achievement
in their career, pretty much 6 in a row since "Gathering
Speed", back in 2004. Now firmly established with a solid
core of devoted musicians, this amazing band has reached
pretty much the prog throne, left vacant by the dormant
Porcupine Tree and with little challengers looming on the
horizon. Their exemplary sound and vision has enthralled
a wide cross section of the progressive community, recognizing
those precious elements that make prog so, well,? progressive!
Everything is first class, from the artwork, the production,
the clear arrangements, the magnificent melodies, the lyrics
and mostly, the creative delivery that is effortlessly jaw-dropping.
David Longdon is speedily becoming a world class vocalist
while shedding his 'Gabriel meets Collins' clone label which
was once quite apparent but now has morphed into his own
style altogether. Greg Spawton is a clever composer and
slick guitarist, especially when regularly flanked by the
mythical Dave Gregory of XTC fame. The bass duties are ably
handled by co-leader Andy Poole whose imprint on their style
is indelible. Nick D'Virgilio needs no introduction, he
is simply one of the top 5 rock drummers on the planet with
a career path that rivals the very best of his craft. The
recent addition of Rikard Sjoblom of Beardfish adds even
more keyboard splendor, dueling with Dave Manners on all
matter of ivories. Solid crew!***
The seven and a half minute title track sets the tone
from the get go, a forceful romp that showcases Longdon's
incredible mastery over his lungs, tempestuous organ and
tortuous guitar solos, all expertly held together by the
Poole-D'Virgilio tandem, with occasional synthesizer blasts,
some deft flute trills and Rachel Hall's violin. The crew
wastes little time delving into an epic ride on "London
Plane", a slick trip down memory lane as Longdon masterfully
displays his Gabriel-esque rasp, a swirling adventure that
takes its 10 minute timeline perfectly, evoking a variety
of soft yet passionate emotions , very English. The pastoral
feel is augmented by the bucolic interface of exquisite
acoustic guitar and slippery violin, furthered by some aggressive
electric guitar phrasings that underline what a huge axeman
Dave Gregory is. Soaring vocals exude strong British tendencies
verging on nostalgic but these musicians have always had
a very historical perspective on their craft, and rightly
so. They are not interested in re- inventing the prog wheel,
just perfecting it! I always tire of supposed music experts
who constantly rail at prog not being innovative enough!
Really? As compared to what? Pop? Metal? Progressive rock
has polished itself into a well- defined art form, which
is why it has survived torrents of petty ridicule and indignant
scorn from the ignorant and profiteering masses (which continues
today on the net).***
The pensive and innocent "Along the Ridgeway" seeks
to perpetuate this unruffled solemnity, a glorious melody
shaped by some startling backing vocals, providing lead
singer Longdon with the spotlight to decorate the melody
with his powerful and heartfelt voice, aided by some sparkling
piano, violin and organ additions. Its companion piece "Salisbury
Giant" serves to elevate the mood further, raising it to
a loftier plane, the violin carving the delicate purity
of a melancholic past. The contrast between puerile and
mature is simply breathtaking.***
Staring at the stars is surely a habit for the curious
and wandering artistic mind and "The Transit between Venus
across the Moon" addresses the vastness of our universe
whether external or internal, and the symphonics really
shine through majestically, including strings and woodwinds
to add a sense of endless discovery. David Longdon's raspy
lilt does wonders here, delivering the urgent and despairing
lyrics with apparent control and stellar dedication. A whirlwind
guitar solo spirals lovingly amid the dense orchestrations,
like some shining comet gliding intensely through the glittering
space of time and matter.***
The sprightly "Wassail" is strongly reminiscent of
more modern British prog-folk, as I could not help drawing
slight comparisons to old Traffic circa 'John Barleycorn
must Die', both in the rampant organ churning up a storm,
as well as Longdon doing a lil Stevie Winwood vocal and
the overall energy in the endearing contrasts between pastoral
serenity and bluesy wail. 'The apple of my eye', indeed!
This is quite an energetic tune, almost beckoning an impromptu
sing along in the pub reaction. The slick fiddle section
furthers the bucolic feel.***
The rather stunning surprise track here is without
a doubt the rollicking "Winkie", an evolution of the previous
piece, highly cinematographic, as if some soundtrack composition
with amazing singing, both lead and backing and including
some effect-laden radio voices to add to the score. D'Virgilio
thumps enchantingly, driving the mood with aplomb, thus
giving the lead voice the perfect platform to bellow strong
and proudly. Plenty of shifts and turns, swerves and reversals
to keep the most ambitious listener content, the kaleidoscope
of sounds presented are brilliantly portrayed and evoked
with heartfelt zeal.***
The longest piece is the nearly 13 minute extravaganza
"Brooklands" and aims at the poignancy heartstrings, muscled
by a sensational bass and drum foundation, as well as a
series of speedboat soloists that slither over the brooding
waves with apparent comfort, powered by musical engines
of eternal drive. The sizzling guitar breaks are phenomenal,
the flute interventions perfect, D'Virgilio pounding masterfully
like some race car driver gone berserk, while Longdon cries
wonderfully into his microphone, all contributing to anointing
this epic with the highest praise, perfect BBT's highest
evolution yet. 'Lucky man', indeed!***
This impressive set list finally rests upon the laurels
of a gentle breeze, bees fluttering in the sunshine, an
unpretentious ballad that seeks no progressive challenge,
nothing more than a melodic au revoir that is both comfortable
and content. Longdon does sound a lot like Uncle Phil here,
but the delicacy of the slithering countrified guitar solo
(is that you Mr.Gregory?), the relaxed piano and strings
, as well of the gentle choir background exude tears of
happiness flowing down some cheek. Unpretentious and beautiful.***
In all honesty, both "English Electric" chapters left me
only slightly satisfied, perhaps needing more of a revisit
that I had initially thought , this gorgeous album on the
other hand seems overtly more concise, attractive and seductive.
Maturity, vision and team work has paid off handsomely,
with a truly distinctive set-list of brilliant songs, with
determination and principled vision.***
Tszirmay
Reviews
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