BIG BIG TRAIN : THE LIKES OF US

1. Light Left In The Day
2. Oblivion
3. Beneath The Masts
4. Skates On
5. Miramare
6. Love Is The Light
7. Bookmarks
8. Last Eleven
   Bonus :
9. Miramare

Label : InsideOut Records

Release Date : March 1, 2024

Length : 73:15

Review (ProgWereld) : In mijn recensie van het laatste album van Big Big Train (BBT), “Welcome To The Planet” uit 2022, gaf ik aan onzeker te zijn over de toekomst van de band. Vooral het overlijden van voormalig frontman/zanger/componist David Longdon zou weleens een niet te vullen gat kunnen achterlaten. Ik besloot destijds met de band veel sterkte te wensen bij de keuzes die voor hen lagen. Daar kwam later nog een andere personeelswisseling bij: ook toetsenist/zangeres Carly Bryant heeft de band om persoonlijke redenen moeten verlaten. Maar iedereen kan opgelucht ademhalen inmiddels: de band is er wederom in geslaagd zich te herpakken. De komst van nieuwe zanger Alberto Bravin is daar voor een groot deel verantwoordelijk voor. Maar ook nieuwe toetsenist Oskar Holldorf draagt zijn steentje bij aan het nieuwe album. Hoewel, helemaal nieuw zijn zij ook weer niet, sinds de tweede helft van 2022 maken beiden al weer deel uit van de livebezetting van BBT. Zoals ook al zichtbaar was tijdens de optredens in september 2022 en meer recent in augustus 2023, allebei in de Boerderij in Zoetermeer. Daar stond een fris en fruitig, vernieuwd/verjongd Big Big Train op de planken, klaar om het stokje over te nemen en de toekomst met vertrouwen tegemoet te zien. Het nieuwe album, het vijftiende in successie, is grotendeels opgenomen in de Urban Recording Studio in Triëst, Italië, de woonplaats van zanger Alberto Bravin, het eerste album met eerdergenoemde Bravin en uitkomend op InsideOut Records. Acht nieuwe nummers dus, in totaal ruim een uur muziek. Helemaal nieuw zijn alle nummers ook weer niet: drie ervan zijn al eerder live vertolkt, Last Eleven zelfs al in 2022 terwijl Oblivion en Love Is The Light tijdens de tournee van 2023 het levenslicht zagen. Het nieuwe album bevat zelfs een nummer van epische omvang: het ruim zeventien minuten durende Beneath The Masts. Het begint al goed, opener Light Left In The Day is grotendeels instrumentaal en bezorgt me duimendik kippenvel. Het begint heel breekbaar met een paar regels zang en een akoestische gitaar maar wint al snel aan volume en dynamiek. Het is eigenlijk een soort van ouverture waarin de verschillende muzikale thema’s op het album worden geïntroduceerd. Het nummer gaat naadloos over in het inmiddels bekende Oblivion. Dit is duidelijk BBT nieuwe stijl: wat steviger, wat compacter en de titel nodigt uit tot publieksparticipatie. De muziek gaat van hard naar zacht en weer terug, met een grote rol voor drummer Nick D’Virgilio. Wel een beetje abrupt einde. Weer kippenvel bij het intro van Beneath The Masts. Het nummer is geïnspireerd door een hoge tv-mast in Spawton’s woonplaats Sutton Coldfield, maar maakt op mij meer de indruk van een introspectief over het leven zelf. Alle bekende BBT-kenmerken komen voorbij: behoorlijke tempo- en stemmingswisselingen, solospots voor iedereen, stevige en fragiele gedeelten, hemelse zangpartijen, kortom een mini-suite van het zuiverste water. Een zeventien en een halve minuut lang durend hoogtepunt, met een knappe vocale prestatie van Alberto Bravin. De storm gaat uiteindelijk liggen, toetsen, akoestische snaren en de zuivere zangstem van Bravin verzorgen het rustpuntje en brengen het schip naar rustiger wateren. Dit zou wel eens een nieuwe klassieker kunnen worden in het repertoire van de Britten, in lijn met A Mead Hall in Winter en East Coast Racer. De tijd zal het leren. Skates On is een welkom rustpuntje na de lange en complexe voorganger Beneath The Masts. Wel een beetje vreemde overgang: zo zitten we nog op een heuvel in de West Midlands, zo vraagt de band ons om onze schaatsen onder te binden. Maar de boodschap is duidelijk: het kan morgen voorbij zijn, pluk de dag. De melodieuze, enigszins weemoedige muziek onderstreept dat motto. A capella zang bij aanvang van Miramare, van de hand van Bravin, de complexe zangharmonieën blijven door het hele nummer heen aanwezig evenals de kopersectie. De tekst gaat over het kasteel Miramare, even ten noorden van Triëst, dat als buitenverblijf diende voor de Habsburger dynastie. Het drama van de noodlottige liefde dat zich hier afspeelt is goed terug te horen in de muziek. Love Is The Light heeft zoals gezegd ook al op het podium zijn debuut gemaakt. Een akoestische intro met Bravin en D’Virgilio in duet, de blazers en de volledige band komen er gaandeweg bij. Het nummer ontwikkelt zich tot een ‘feel-good anthem’ met positieve boodschap en vooral goed meezingbare refrein. Zoals ook al gebleken is tijdens de live concerten. Het is tijd voor een rustiger momentje, het intro doet een beetje denken aan Curator of Butterflies. Maar dit is toch echt Bookmarks, een romantisch, melancholiek lied met veel Mellotron, meerstemmige zang, zware baspedalen en akoestische ‘feel’ met een tikkeltje Genesis. Ook Last Eleven is bekend van de concerten, al in 2022 werd het nummer gespeeld. Maar het klinkt nog steeds indrukwekkend, dit goed geproduceerde uptempo nummer. Geschreven door Greg Spawton en licht autobiografisch verhaalt het over een groep misfits en mislukkelingen waar niemand vertrouwen in had. De meeslepende muziek doet de rest en zorgt voor een passend einde van “The Likes of Us”. ‘Can the likes of us find a place to call our own?’ Het vraagteken staat er niet voor niets, de link met de titel is gelegd. Er zit een fors aantal slimme zaken in het nieuwe album. Zo verwijzen de teksten van de nummers onderling naar elkaar. In Bookmarks komen de ‘skates’ weer voorbij, flarden van de melodie van Last Eleven zijn al te horen in Beneath The Mast. In Light Left in the Day hoor je weer fragmenten van Beneath The Masts en Miramare herbergt weer het meezingbare stukje uit Love is the Light. Zo zijn de nummers onderling met elkaar verbonden zonder direct de zware term ‘concept’-album van stal te hoeven halen. Knap. “The Likes Of Us” bevat in tekstueel opzicht meer persoonlijke nummers, gedachten over (de eindigheid van) het leven. Heel anders dan de gebouwen, treinen en historische figuren die tot nog toe als onderwerp dienden. Het geluid is iets compacter, steviger ook, hoewel de succesvolle elementen van het ‘oude’ BBT overeind zijn gebleven. Dan heb ik het over het gebruik van koper, de meerstemmige zangpartijen en de bij tijd en wijle aan het ‘oude’ Genesis refererende akoestische boventonen. De vele personele wisselingen hebben blijkbaar relatief weinig impact op het uiteindelijke resultaat, de muziek. Dit is absoluut een van de beste albums die het internationale gezelschap heeft geproduceerd. Het hoesontwerp is wederom van Sarah Louise Ewing terwijl ook Rob Aubrey weer van de partij is, hij verzorgt de kristalheldere mix (samen met Bravin). De onzekerheid is omgeslagen in tevredenheid; niemand hoeft zich voorlopig zorgen te maken over de band en zijn toekomst. Hier is duidelijk sprake van een ‘return to form’, een terugkeer naar de oude/nieuwe briljante succesformule die we van hen gewend zijn. In een nieuw jasje weliswaar en met andere, jongere muzikanten, maar trouw aan hun ‘roots’ en met oprichter/bandleider Greg Spawton losjes aan het roer. “The Future Looks Bright” zou zomaar de titel van het volgende album kunnen zijn. Al weet je het maar nooit bij BBT.

Review (ProgMind) : I’ll confess that when I received the new Big Big Train album for review, there was a sneaky side of me that felt resistant to all the changes that I knew would lie within it. Part of me wanted to double down and say that somehow BBT doesn’t exist without the late David Longdon (who wasn’t even the first vocalist). I’m not sure why that was. After hearing one of the singles, though, my mind was freed from that obstinacy, and the album as a whole opened up to me. It is called The Likes of Us, and it releases on March 1st. This is an album of firsts for BBT, even though they have been around since 1990. The album sees the arrival of their new singer, Alberto Bravin (ex-Premiata Forneria Marconi), who also plays some guitar and keys. His voice proves to be different from Longdon’s in all the right ways, while still being able to handle the past discography. The rest of the lineup for this album includes: Nick D’Virgilio on drums, percussion, and acoustic guitar, Dave Foster on guitars, Oskar Holldorff on keys, Clare Lindley on violin, Rikard Sjöblom on guitars and keys, and Gregory Spawton on bass, acoustic guitar, and mellotron. This album is also a first in that it is the band’s debut with Inside Out Music. When I heard the news, I immediately felt that this was an excellent match, especially to mark a new era for the band. In keeping with this move, the music has changed somewhat, leaning more into complex progressive rock offerings than the last few BBT albums had given us. The band retains their signature golden, nostalgic, homey feelings, but it does feel more balanced with musical prowess and a global perspective. The record also feels like a group effort. Alberto is the lead vocalist, obviously, but most of the band offers vocals in one way or another, too. This makes the music feel like a tribute to Longdon in some ways, but it also makes it seem fresh, clean, and focused. The lyrics add to this in how they balance encouragement with stark truths. For example, the song “Skates On” is a wonderful piece that edifies us to live our lives here and now, while life is here for the living. One moment, it feels encouraging, and the next it feels ponderous with its “we’re here and gone” little hook, and so it seems to celebrate the fragile beauty of living and dying, coming and going. It feels sad and celebratory at the same time, and so much of the album goes. I was instantly sold on the single “Love is the Light”; this is easily one of my favorite songs of 2024 so far for how pure and beautiful it is. I love the excellent vocal performance from Alberto, and I love the group harmonies near the end. I can’t get enough of it, or its important message, either. “Oblivion” is another single, and it has a wonderfully gracious hook that is an easy sell to BBT fans, and Alberto sings his heart out again. “Miramare” is the single that is perhaps the most complicated, but I find myself liking it more and more; I daresay that it gets a bit heavy in the second half. There are five other songs on the album, though, and I’m liking them all. I love the opener “Light Left in the Day”, which feels like a statement from the band: first, it immediately brings in Alberto to shine his voice on us, which feels like a literal introduction of sorts, and then the rest of the song is instrumental and fleeting and brilliant. It feels like the band is telling us, “There’s still more steam left in this engine”. “Beneath the Masts” is a favorite, being a 17-minute piece with lots of transitions, some of them rather epic and cinematic, and the last half is particularly good. Your ears will certainly perk up several times when you hear it. I already mentioned “Skates On”, a meaningful tune with a delicious hook, and that is a favorite of mine. The final two tracks on the album are terrific, too. “Bookmarks” is basically a ballad with lots of violin, and it is truly beautiful; Alberto emotes more on this one than on any other, and it is endearing. The closer “Last Eleven” is a groovy beast of a song that trades between roaring bass and delicate segments. I like how it brings in imagery of being on a journey, and both awaiting and somewhat grieving the arrival. The Likes of Us is probably a top 5 album for me in BBT’s discography. It has all the color and innocence of their past, but gives us plenty of new ideas and faces to process. It is like being in full sunlight, living gloriously in the fields and rivers of not only England this time, but the world at large. I love the lyrics and performances so much, but the real selling point is how precisely and richly the melodies were composed. I can see this as both a love letter to the fans, and also a station at which new fans can climb aboard.

Review (Spil Magazine) : The Likes of Us is the 15th studio album by progressive rock Big Big Train. This album has some notable changes. It is the group’s first full collection of songs since lead vocalist David Longdon passed away in 2021. Alberto Bravin is now the new frontman of the band. Furthermore, their newest record marks the start of a new relationship with InsideOut Music, as the band has been self-releasing their music for almost two decades. There is no denying that Big Big Train are incredibly talented musicians, but I had an easier time appreciating the album than actually enjoying it. All tracks are highly elaborate and have complex instrumentation, but I had difficulty enjoying it. For example, “Last Eleven” has impressive guitar work. Every once in a while, it is very delicate and soothing and sounds like something Radiohead might have created for In Rainbows. However, this was the only entertaining thing I found about the track. I have the same issue with “Skates On” and “Miramare”. There are tons of fascinating moments happening in them, but they never capture my attention for the entire duration of the songs. It is far too flashy, technical, and overblown for my liking. “Beneath The Masts” has tons of great moments, most notably, the eloquent opening and the dark, menacing, and somewhat brooding piano that starts at around 9:40. But it is super frustrating to sit through and listen fully as it feels like the track goes on forever. Usually, it ends up being a whole lot of ‘showing off’ and, sometimes, like most tracks from the album, comes off a little pretentious (in the technical sense). All the extended guitar solos sound okay, but there are far better, more exhilarating, and exciting guitar riffs that last much shorter. “Love Is The Light” is the only track that makes me feel something. The strings and guitars are stunning, the lyrics are beautiful, and the vocals are mesmerizing. Everything comes together in such a way on the track that it seemingly transports you to another dimension. It is easily the best song from the record. Another highlight is “Light Left In The Day”. The synth and guitar solo is a wicked fun time, even if it lasts way longer than it needs to. The main difference between The Likes of Us and better prog rock is atmosphere and emotion. Almost no atmosphere or emotion (besides in “Love Is The Light”) is produced in The Likes of Us. It is just a whole lot of ‘noise’ clashing together. Progressive rock bands like Pink Floyd, Genesis, Tool, Rush, and previous Big Big Train records created haunting, chilling, gorgeous, breathtaking, and majestic atmospheres that are incredibly moving, all the while showcasing their immense creativity and talent. With their latest release, Big Big Train demonstrates that they certainly have talent but severely lack atmosphere and emotion. Overall, I did not enjoy The Likes of Us. Nevertheless, there are many things throughout it that you can appreciate, and you should at least give it a chance.

Review (Man Of Much Metal) : Bands suffer line-up changes all the time. It’s a fact of life, and can be the result of many things, from artist differences to personal fallings out, and everything in between. Sometimes, however, it is borne out of tragedy. In November 2021, Big Big Train lost their lead vocalist David Longdon who sadly passed away following a freak accident. It shocked the band and its steadily increasing but ever loyal fanbase to the core, leaving many of us to wonder whether that might be the end of Big Big Train. David wasn’t with the band from the beginning, only joining in 2009. But over the course of nine albums, the last of which being released after his death (‘Welcome To The Planet’ – 2022) his voice became synonymous with the Bournemouth-based English progressive rock band. And, as someone who only discovered the band in 2012 with ‘English Electric Part One’, his impact on me cannot be understated. Despite a love of generally heavier music, I fell in love with Big Big Train, Longdon’s voice, and the stories he could weave within the compositions. But this hasn’t been the only change to the line-up over recent times as, one by one, the members with whom I formed a musical attachment left the band for one reason or another. Guitarist Dave Gregory, violinist Rachel Hall, and keyboardist Danny Manners have all alighted the train over the past few years, meaning that the only remaining founding member is bassist Greg Spawton. He lines up on ‘The Likes Of Us’ with drummer Nick D’Virgilio, guitarist/keyboardist Rikard Sjöblom, guitarist Dave Foster, violinist Clare Lindley, keyboardist Oskar Holldorff, and lead vocalist Alberto Bravin. With full, 100% honesty, I wasn’t even sure I wanted to listen to anything new by Big Big Train again, so I deliberately didn’t go searching for an advance promo in case I failed to produce a review. I did wonder whether it might be best to lay the name to rest and for this new incarnation of the band to start afresh with a brand-new identity. After all, I respect the musicians involved and cannot begin to question or fault their talents as musicians, performers, and songwriters. So, there wouldn’t have been a problem in getting something new off the ground. But like it or not, Big Big Train has remained and ‘The Likes Of Us’ is the first studio album with this new ensemble. When finally, I succumbed to my curiosity, I spent the first entire spin through thinking ‘it’s not Big Big Train’. On the second spin, I still thought ‘it’s not Big Big Train’ as well as ‘nope, I don’t like this at all’. Admittedly, I was stuck in a traffic jam on the motorway on a dark Friday night as I listened to it twice through, so I may not have been in the best of moods. Nevertheless, my prejudices were working overtime and I felt quite bitter about the whole thing. Once I got home and my mood improved a little, I could concede quietly to myself that ‘The Likes Of Us’ did offer a few interesting moments here and there. It was enough to get me listening again, and now here we are, at the sharp end of my review. Therefore, surely, I can’t still hate it, can I? No, I can’t. Quite the opposite, actually, as it transpires. As if to signal very clearly that there is a new vocalist in town, and to almost remove that elephant from the room immediately, the very first thing you hear on the opening track, ‘Light Left In The Day’ is voice of Alberto Bravin. But then, almost as deliberately, you hear a short blast of brass to make another important point: that this is still Big Big Train, and for all the changes, some things will remain the same. We all know my distrust of brass, but where Big Big Train are concerned, it’s like a welcoming blanket of English familiarity. From there, the remainder of the composition is largely an instrumental affair, where each musician within the collective is allowed the space to flex their individual muscles and make an early mark. The result is an up-tempo and energetic piece of progressive rock, complete with wailing lead guitar solos, bold synths, playful bass, and accomplished, expressive drumming. As it develops, it has the feel of a song that’s not quite as quintessentially English as previous material, a theme that plays out throughout the album as it transpires. This isn’t in any way a bad thing, but perhaps an inevitability given the clientele now involved and the ever-increasing sources of songwriting prowess within the band. The opening track then segues almost seamlessly into ‘Oblivion’, another up-beat composition that properly introduces the talents of violinist Clare Lindley within quite a raucous intro segment. The verses are quieter affairs, featuring Bravin’s undeniable talents as well as utilising the multiple vocal talents within the band as choral-style support. This has always been a feature of Big Big Train, but it’s definitely upped to a degree on ‘The Likes Of Us’. The chorus is a catchy affair, working well against moments of more pronounced calm within the second half of the song, where something more sombre and wistful is explored. The centrepiece of the album is undoubtedly the 17-minute ‘Beneath The Masts’ and, when I first heard it, I felt that it just meandered across its bloated length, going nowhere fast. Well, I was wrong. I still think that there is a slight argument to suggest that it could be edited just a little more but once the song gets to you, it’s hard to pinpoint where it could be trimmed. It’s more of a ‘classic’ Big Big Train song in that it goes into great detail to tell its story and, whilst doing so, it covers an incredible amount of ground. From quiet minimalism to all-out prog rock excess, it also features arguably the heaviest segment the band have ever penned. In the middle of the composition, things descend into a full-on progfest, full of jarring, clashing synth sounds, crazy wailing guitars, and even some metal-like drumming, the sonic interpretation of a sea squall if you will. Out of the storm, though, comes beauty and serenity, culminating in a final two-minute melodic crescendo that’s worth the wait, such is its beauty and majesty. Other favourites along the way are ‘Miramare’, and ‘Love Is The Light’. The former is a delightfully multi-faceted ten-minute joy ride of arresting vocals, strong almost anthemic melody, and possibly the best lead guitar solo on a Big Big Train album to round it all off. The latter was a bit of a damp squib for me when I first watched the video but has since grown into a song that I utterly adore. It never ceases to amaze me how opinions can so drastically change, but that’s the case here. The positive messages within the lyrics are uplifting, whilst the whole thing becomes more poignant and memorable with every passing listen. The opening vocals alongside the rich piano notes are captivating, whilst I really enjoy the way that the song builds gently, with layer upon layer of sound introduced, from acoustic guitars to the brass ensemble, and Clare Lindley’s violin. And who doesn’t love a Mainden-esque ‘Woah, woah’ to sing along to? I defy you not to raise your voice along with the choral vocal parts in unison when they arrive in earnest towards the latter stages of the song. The more I envelop myself in the music, the more I realise that there isn’t a bad song in the bunch. But then, that’s always been a strength of Big Big Train ever since I’ve been along for the ride. I’m a little less keen on ‘Skates On’ and ‘Bookmarks’ simply because the chosen direction and melodic interplay doesn’t speak to me as strongly as elsewhere on the record, but they are still well-written compositions sure to find favour with many others who might have a different opinion to my own. Shocking, I know. As I said at the start of the review, I wasn’t sure if I wanted to hear anything new from Big Big Train again. But immense credit must go to the whole band, but Alberto Bravin in particular for the way that he has stepped into the enormous shoes of David Longdon, but in his own style, allowing the band to continue afresh whilst also offering respectful nods to the past. It turns out I was clearly very grumpy when I first listened to ‘The Likes Of Us’ because out of my ill-placed distaste, a love has once again formed for one of my all-time favourite progressive rock bands. On the basis of this latest release, the future for Big Big Train looks as bright and exciting as it ever was. And I’m delighted, I really am.