Big Big Train – Merchants of Light

24 07 2018

PrintMerchants of Light is the new live album from three times Progressive Music Award winning band Big Big Train. The album features the best performance of each song played at the band’s three sold out shows at Cadogan Hall, London, in the autumn of 2017.

The title track from their 2016 album Folklore ushers in the 16 track live album. The brass / strings and Shaft like rhythm guitar lines snuggle up together better than they should on this powerful opening track. Brave Captain from Folklore‘s companion album Grimspound works equally well in its live setting. As I mentioned in my original review, from the half way section of the song, there are shades of Dire Straits Private Investigations in the piano lines and the breakdown.

Last Train was originally on the 6th Big Big Train album The Underfall Yard from 2009. The song tells the story of a station masters last day at work. One of the more progressive songs on this live album, the harmonies are a pure joy to hear.

London Plane is built on a solid foundation of an intricate vocal arrangement, and serves up an adventurous mixture of jazz and prog flowing through the instrumental sections.

Meadowland is a gentle pastoral sounding track, with subtle brush drums, violin and restrained piano. A Mead Hall in Winter is one of this live album’s highlights. Synths and strings jostle with jaunty organ, throwing musical nods to 70s giants Genesis and Yes, with a sprinkle of early Steely Dan thrown in for good measure.

Swan Hunter from English Electric Part Two and its tale of a long-lost shipping industry has become one of the band’s standards. The use of brass always evokes a feeling of the early 1970s to me, and this fine version of Swan Hunter is no exceptionDavid Longdon’s vocals are in fine form here and throughout the album.

Big Big Train live by Simon Hogg

My favourite Big Big Train song is The Transit of Venus Across the Sun. It’s the brass again! The arrangement is so light and gentle, with no bombast used in getting the emotion across. There is real beauty in both the arrangement and performances from all the musicians.

East Coast Racer gets a fantastic reception from the crowd, and is the longest track on the album. The song charts the history of Mallard, the worlds fasted locomotive.  East Coast Racer is the band at their most progressive and highlights some of their finest melodies and harmonies.

A great version of  the mid 70s pop / rock influenced Telling The Bees is followed by one of the oldest songs on this album in Victorian Brickwork. This track is one that will appeal to fans of the first progressive era of the early 70s. The twists, turns and swells will lift the darkest of moods, and is modern progressive music at its finest.

Drums and Brass is an instrumental interlude that leads into the albums final track, Wassail.

It is easy to get lost in the music of Big Big Train – from the fascinating stories told through the lyrics, to the varied musical styles. If you have not heard the band before, Merchants of Light would be a great starting point, and it is highly likely that you will set off on a voyage of discovery to take in all of the bands recent albums.

Tracklist:

Folklore Overture
Folklore
Brave Captain
Last Train
London Plane
Meadowland
A Mead Hall in Winter
Experimental Gentlemen part two
Swan Hunter
Judas Unrepentant
The Transit of Venus Across the Sun
East Coast Racer
Telling the Bees
Victorian Brickwork
Drums and Brass
Wassail


Buy the Merchants of Light double CD from Amazon

 

Also available now is the Swan Hunter EP, that includes 3 versions of Swan Hunter (a radio edit, a 2018 remix of the album version and a live version), plus a new recording of English Electric: Full Power‘s Seen Better Days (an emotional duet with no-man’s Tim Bowness) and a 2017 live at Real World Studio version of Summer’s Lease (originally on 2007’s The Difference Machine album).





Thomas Lang – The German Alphabet

4 09 2016

thomas-lang-the-german-alphabet-webTo say that there has been a long wait for The German Alphabet, the first studio album from Liverpool singer-songwriter Thomas Lang in 20 years, is an understatement. Even Kate Bush has released 3 albums during that period, and Kate Bush albums are rarer than hen’s teeth (insert your own cliche here).

Now that’s out of the way, is The German Alphabet any good? Oh yes its good, you will be pleased to hear.

If you are a fan of Scallywag Jaz, Little Moscow and The Lost Letter Z, you will not be disappointed. *That voice* is still in fine form, but if you are expecting a re-run of the first 3 studio albums, The German Alphabet does not retread old ground. Its exactly the sort of album you would expect to hear from Thomas Lang in 2016, and is not a nostalgia-fest.

Album Theme

The aspect of the album that jumps out straight away is the theme – musically the album is a nod to John Barry, Ennio Morricone and ambitious film soundtracks. In fact, the songs themselves are like short films, with a strong narrative running throughout the lyrics.

Kicking off with the albums title track, flutes and a high in the mix bass-line sit amongst dark electronics. An almost spaghetti western guitar line features on this (and several tracks) and The German Alphabet is topped off with a high-energy vocal performance from Thomas. The arrangement is wonderful on this song – strings and horns dip in and out of the mix, without over-staying their welcome.

After an up-tempo start, Rain slows things down. The arrangement sounds like Portishead meets Massive Attack. Rain is one of the trilogy of very electronic tracks on the album, and contains one of the finest vocal performances from Thomas. I love the breakdown towards the end of this song, with some Robert Fripp-like electronics and sweeping strings. I think this will be one of the most popular songs on the album amongst fans.

Shaken not stirred

Pale Imitation is surely a contender as a future Bond theme. This is a classic Lang tune – with some lovely (almost progressive) organ and smooth percussion under-pinning an emotional vocal performance.

“I’ve got a plan but you won’t get behind it”

Pale Imitation reveals itself to you over repeated plays – with little details rising in and out of the arrangement.

Tom-Parr-St-15.05.16

Film Stars you may already know, as it first appeared on the 1990 (cassette only) Refugees From Little Moscow EP. I’ve always hoped this song would get a wider audience, as it contains one of Thomas’ best vocals.

Just piano and voice, its a delight and Thomas channels his inner Rickie Lee Jones on this track. And I could be wrong, but towards the end, it sounds like Mr Lang lights up a smoke to see him through to the end of the song. Now that’s jazz!

Pulse is the first track I heard from the album, around a year ago. It has evolved from the early take, but remains by far the most electronic track on the album. The rhythm is in the pulsing synths, as there is no acoustic percussion, and it has a late 80s / early 90s feel.

The strings (and vocals) on the chorus are simply heart-wrenching. It remains one of my favourite tracks on the album.

“I touch your face, so cruel”

Vegas baby!

I think Klee records flew Martin Scorsese in to help Thomas write the lyrics for Be Missing, as its a pure 1970’s Las Vegas / Gangster flick-in-a-song.

Be Missing is also the first appearance of a (Scallywag) Jaz(z) arrangement on the album, mixed with some early 90s Portishead thrown in for good measure.

Lyrically, Be Missing is probably Thomas’ finest hour, and I love the crazy toms / mournful vocals on the tracks outro. Its all very high drama, and is definitely Goodfellas in song form.

“They dug a hole in the sand that’s true – and maybe its your size”

Colorado Boulevard is a gem of a tune, and is a beautiful late night torch ballad. Dim the lights, sip on some expensive whiskey (on the rocks of course) and wallow in this song.

Smokey, slow strings and trumpet power this expensive sounding, as powerful as Sinatra, jazz diamond. Over time, I think this song will sneak into my heart as one of my top 10 favourite Lang tracks.

Swing me baby one more time

I Go Wild (BBV) is the big-band version (a more acoustic, stripped back take is available on the LP version of the album). Its dripping with Vegas panache – the song is driven by a joyous ensemble that makes you run upstairs and slip on your tuxedo every time you play it (or maybe that’s just me).

Michael Bublé would pay a million bucks to swing this hard, ain’t that a fact.

Lucky Me dials down the tempo, and is the album’s sweetest ballad. Another top-notch vocal (and lyrical) performance, I’m sure this song will be a favourite on the forthcoming live dates.

“No moonlight and roses, we’ve been here forever”

Lucky Me name-checks some of the musical (and political) heavyweights, and Tom’s vocals ooze class.

Talking of heavyweights – Kiss The Canvas is a love-song to the pugilist arts, and is well-timed, coming in the year we lost “The greatest”, Muhammad Ali.

I remember going to a London Lang gig in the early 90s and the band were all crowded round the TV post-gig watching a Benn / Eubank fight (if my memory serves me well), and Tom’s love of boxing is clear on Kiss The Canvas.

Kiss The Canvas tells the story of the darker side of the sport, more pay to lose than pay-to-view.

The album doesn’t run out of steam, ending on two very strong songs. Sugar Don’t Work has a feel of early Goldfrapp, and is another of those songs that comes into its own after dark.

If David Lynch is looking for a lead song for the forthcoming Twin Peaks series, he should take a listen to the dark beauty of Sugar Don’t Work.

The darkest song on The German Alphabet, Watchman closes the album. The last of the electronic trilogy of tracks, there is a feeling of cold-war paranoia in the lyrics and a little of the spirit of Billy Mackenzie and The Associates in the music of Watchman.

Lost till I found you

An honorary mention must go to Lost Till I Found You, from the vinyl version of the album. One of the final songs from the DA Hughes / John Murphy / Lang partnership, its worth buying the vinyl album for this one song alone. Like the theme tune from a great, lost 80s movie, its no leftover.

Lost Till I Found You captures some of the best parts of the late 80s / early 90s  – the emotive synths and the subtle drums, and would be a highlight of any of Lang’s albums.

It looks as if this song can be bought in digital format from Amazon from 30th September.

“Winds blow through, rains came down – lost till I found you, lost till I found you”

I hope all fans of Thomas Lang’s music get to hear The German Alphabet, as its a vital part of the Lang catalogue of work. The album has clearly been put together by Thomas and the musicians who play on the album with so much love and attention. I hope we don’t have to wait 20 years to hear the next album.

Buy The German Alphabet

Dusseldorf (CD)

The German Alphabet / Rain / Pale Imitation / Film Stars / Pulse / Be Missing / Colorado Boulevard / I Go Wild (BBV) / Lucky Me / Kiss The Canvas / Sugar Don’t Work / Watchman

Buy the CD from Klee Music

Buy the CD on Amazon (includes mp3 version)

Munich (vinyl)

The German Alphabet / Rain / Pale Imitation / Lost Till I Found You / Pulse / Be Missing / Lucky Me (alt version) / I Go Wild (alt version) / Sugar Don’t Work / Watchman

Buy the vinyl from Klee Music

Buy the vinyl on Amazon (includes mp3 version)

Find out more about Thomas Lang

Visit the Thomas Lang website / Follow Thomas on Twitter

Visit the Klee Music website








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