THE LIKES OF US

One of the major players in the world of modern prog, BIG BIG TRAIN has existed since 1990 but only came to prominent notice with 2009's "The Underfall Yard" which was met with critical acclaim in the world of progressive rock and since then it seems that the band could do no wrong with one album after another receiving the seal of approval by adoring fans and reviewers alike but like all good things, sometimes unforeseen changes occur and BIG BIG TRAIN was completely derailed in 2021 with the shocking premature death of lead singer David Longdon who helped steer the "new" BIG BIG TRAIN into prog stardom. His unfortunate accident left a major hole in the band and fans rightfully questioned the future of a band where Longdon played such a critical role.

After three years of flailing around looking for answers, the band continued to release recordings with Longdon's contributions as well as the 2023 "Ingenious Devices" which featured re-recordings of classic tracks with the original Longdon vocals but the emergency reserves were used up and it was time to take BIG BIG TRAIN to the next level. The answer was a new vocalist of course and after searching high and low the winner emerged as ex-PFM vocalist Alberto Bravin who caught the prog world's attention for his contributions on the PFM album "Emotional Tattoos" from 2017 where surprisingly he was only the backing vocalist as well as the keyboardist but nevertheless his vocals prove to fit in quite well with the band's unique symphonic meets neo-prog stylistic approach.

The first album of new material since Longdon's unfortunate passing, THE LIKES OF US is BIG BIG TRAIN's 18th album and finds a new sound in the process by wisely adapting the musical style and compositions to the new vocalist. The album also finds the band's debut on the InsideOutMusic label. Featuring nine tracks and clocking in at just over 64 minutes, THE LIKES OF US finds the band retaining its classic Genesis and Marilion inspired symphonic prog / neo-prog touches but also with Bravin's contributions, takes on a beefier sound that is more akin to classic Neil Morse led Spock's Beard. In fact Bravin's vocal style is very similar to Mr Morse's except that he doesn't have the strained grasp effect which plagues much of Morse's more recent works.

A powerhouse of sort, THE LIKES OF US is one of those albums where it's obvious every band member played their heart out and the desire to prove that BIG BIG TRAIN was still alive and well is executed in every track. Fortified with strong melodies and a keen sense of musical instrumental interplay, "Light Left In The Day" starts with only a 12-string acoustic guitar accompanying newbie vocalist Alberto Bravin's lyrical delivery but quickly shifts to what sounds like a French horn but then allows a piano run to lead which then becomes arpeggiated as the arsenal of instruments join into to craft a very symphonic setting - a melodic tapestry that goes right for the heartstrings from the getgo. It's clear this album is something special and then it just keeps developing. The Spock's Beard organ and guitar heft join in and the album doesn't let up until it ends. The acoustic guitar motif finds its way across the album's run.

The 17 1/2 minute "Beneath The Masts" allows all the nerdy prog moves to unleash themselves and it's only the third track. This track meanders through a series of clever moves but ultimately retains the continuity of the sound already established in the first two tracks. In fact the album delivers a classic album "sound" better than many BIG BIG TRAIN albums of the past have with nice mix of dynamics that include piano ballad styled neo-prog moments as well as the classic group harmonies and the already discussed Spock's Beard heavier rock passages. The mixing and production is just magical as every instrument and melodic line is placed perfectly together and the touch of Clare Lindley's violin playing allows touches of classic English folk to bring a timeless element to the band's more modern prog style. The 24 bit high resolution stereo effect serves the warmth and organic nature of the band quite well.

The most commercial sounding track "Love Is The Light" was the second single after the single version of the knottier album version track "Miramare." This piano ballad may provide the ultimate 80s AOR throwback on the whole album but also showcases a more intimate acquaintance with Levin's vocal style where he is allowed to stand out a bit given that the album for the most part sounds like a complete band effort where every instrument has its role and orchestrated in a way that is logical and cohesive. Yeah, this track is a bit too cheesy for its own good but BIG BIG TRAIN is one of the most commercial sounding prog bands in the biz so it's not unthinkable that they would craft a radio friendly tear jerker such as this. Personally i find it to be the worst track on the album but that's just my tastes. The folkier aspects of the track do save it from a complete cheese-fest. The track "Bookmarks" pretty much follows in the same earnest piano ballad style but with better developments making it more interesting.

The album ends with the near 8-minute "Last Eleven" which is the one of the most intricately designed tracks on the entire album. Fortified with the same arpeggiated guitar runs and folky violin lines, the track delivers a series of melodic developments with nice time signature shifts and unexpected hairpin turns that nurture various cadences and then alternate. The group harmonies are intertwined into the mix appearing at key moments and then ceding to the solo performances of Bravin. The track is lighter and fluffier than the rest and sort of elevates the album into the clouds and ends the album making me think that perhaps the album in many ways was a tribute to their departed friend who has passed the baton to a new vocalist. It's a very well executed track and the elements all gel together perfectly. The digital version of the album features the single edit of "Miramare" which is 9 minutes long instead of 10 plus. This brings the digital playing time up to over 73 minutes. Personally i find an edit like this laughable but whatever. I'm not into prog singles so irrelevant.

BIG BIG TRAIN continues the tradition of rocking the accessible corner of the prog universe which is a much needed service considering how many directions the world of progressive rock has splintered since the 1970s. A beautiful melodic album that features brilliantly composed compositions and a top notch group effort. Not only has BIG BIG TRAIN proved that there's life after Longdon but to my ears sounds like they've created a new chapter that is even more exuberant and dynamic as anything they cranked out in the Longdon years. Sure the nostalgia for the past and the grieving process still haunts fans but at least it must be a fine day for BIG BIG TRAIN fans that the band will not only carry on but will flourish in the same way many prog bands like Spock's Beard carried on without a certain vocalist. While BIG BIG TRAIN has never been a top dog in my prog repertoire, i cannot deny they are brilliant at what they dish out and as far as THE LIKES OF US is concerned, i find this album to be much more interesting to my ears than many of the band's previous efforts. Something just clicks and i can't help think that perhaps it's the Bravin addition that shifted things in my likability favor. Whatever the case, a brilliant album (if not perfect) in the next chapter of BIG BIG TRAIN.

This is a solid four-star album with even a few five star tracks, such as Skates On, Miramare, and Bookmarks. The new vocalist Bravin fits perfectly in this band; he even has more range than his predecessor, which fans will appreciate. Bravin himself wrote the music for the ten-minute Miramare, which again, fits pefectly with the rest of the band. A few notes - the former vocalist did not do much songwriting; the genius behind the band has always been and continues to be Greg Spawton, an English genius tall-guy type. It is interesting that no mention of Longdon is made in the artwork and the jacket for the album; usually when you lose an important member something is said about them in the subsequent release.

Like all Big Big Train fans, I was very saddened to learn of David Longdon's sudden passing, and was worried that it may mark the end of one of my favorite music groups. Fortunately, this album not only represents a rebirth of sorts, but also quite possibly the best album Big Big Train has ever released, certainly up there with English Electric and The Undersell Yard. This is one of their most consistent albums both in terms of thematic style and strength. The album opens with a largely instrumental 6 minute overture of their classic sound that foreshadows the wonderful musical moments to come. Once the Big Big Train orchestra kicks in, we get a warm familiar feeling , with plenty of new elements throughout. It transitions right into Oblivion, a harder edge first single with a beautiful mid-section that introduces us to the new frontman Alberto Bravin. Bravin quickly makes it clear that he is the perfect choice as the new lead singer and also so much more, with a number of significant writing contributions throughout the record that introduce new elements and energy that blend perfectly with the classic Big Big Train sound.

The centerpieces of the album are the two epic tracks, Beneath The Masts and Miramare. These two tracks are everything we love about this band and more, with so many epic moments, they easily stand at the upper echelon of Big Big Train tracks, right up there with East Coast Racer. Beneath The Masts may be my favorite of all of them and brings a personal, emotional journey that is rare for Big Big Train. Miramare is more in line with the historical lyrical focus of Big Big Train songs, with some incredible instrumental and lyrical moments including some wonderful violin work from Clare Lindley. Her playing is such a great element throughout the record, but really shines on this track.

Love Is The Light is an Alberto Bravin penned track that is the most accessible single the band has ever released, while still containing enough of the core elements that make Big Big Train a favorite prog group. It has quickly become a crowd favorite on tour with the audience loudly singing the refrain towards the end every night.

The shorter tracks , including Skates On and Bookends, are also very strong. In fact, there are no weak moments at all. The message of not taking anything in life for granted, seizing the day, and appreciating the people in your life are the focus of these two tracks and also permeates throughout the album. The spirit of David Longdon is felt throughout the record both in terms of lyrics as well as musical composition, such as the wonderful vocal harmonies throughout the record.

Last Eleven is another highlight that closes the album and ties together the main messages that appear throughout, along with a theme that speaks to many of us fans of this group. Overall, easily a 5 star album, which I hesitate to give to any album easily. It is one of those records that gets better and better with repeated listens as more layers are revealed and appreciated. This is one album I am sure I will come back to repeatedly. A triumphant return for Big Big Train and a career highlight. I am excited for what the future brings for this group.

Big Big Train are one of those bands who never take any real chances but instead choose to deliver stellar playing and top quality writing while never losing sight of the melody. The component parts are all there, already technically one of the best bands on the planet, they have now have a keyboard player who can do the Keith Emerson style keyboard runs in Oskar Holldorff (check out the 17 minute masterpeice Beneath The Masts). There is no doubt in my mind that this is their best album since 2016's Folklore with a 'heaviness' to match.. New vocalist Alberto Braveen has a very appealing timbre and reminds me of Chris Thompson (Manfred Manns Earthband) while the trademark hooks are all very present and correct. Guitar wise Rikard Sjöblom and Dave Foster dovetail superbly on Oblivion, a heavy up tempo rocker with that BBT trademark vocal hook. Another highlight is the poppier Love Is The Light which is as cheesy as hell. Nothing not to like, plenty to enjoy.

Between 1923 and 1947, the term "the Big Four" was used to describe the four largest railway companies in the UK, following the "Grouping" (of a myriad of pre-existing smaller companies). In respect of BBT's output to date, the corresponding "Big Four" are unquestionably The Difference Machine, the Underfall Yard, and English Electric Parts I and II - an absolutely classic sequence of albums that, collectively and unequivocally, propelled the band to my personal top table.

Thereafter, I somewhat fell out of love with the band, as it derailed itself with music favouring the overtly pastoral - in truth, I didn't like anything on Folklore, only the title track from Grimspound saved it from a similar wipe-out, and The Second Brightest Star was wholly irrelevant.

Happily, the band heaved itself back on the straight and narrow with the quite excellent Grand Tour - (I was fortunate enough to see them on their associated promotional tour, shortly before the wretched pandemic struck, and they were on top form) - and the second half of Common Ground. However, Welcome to the Planet (apart from Lanterna and Capitoline Venus) saw the band shunting up yet another unwelcome sidings, as far as I was concerned. I was therefore intrigued to see which direction the band would now be taking, given the tragedy with which we are, regrettably, all too familiar.

Well, with some minor reservations - and one major one - I thoroughly enjoyed The Likes of Us. Alberto Bravin has a warm voice with good range, and the band clearly pulled out all the stops in David's memory, with Nick D'Virgilio's contribution, in particular, being quite stunning throughout. As to my reservations, I was not much taken with either Oblivion or Skates On - neither is my particular cup of tea. But my biggest grievance surrounds Beneath the Masts. Quite what on Earth is going on mid-way through this? Having developed a perfectly beautiful and catchy melody which is just crying out to be cushioned to a handsome resting place, the band inexplicably elects, instead, to insert a few minutes of barbaric incongruity that totally destroys the feel of the piece. Why? What is the point of such ruinous discord?? BBT has never been guilty of this type of aural outrage before; and, frankly, I've already heard enough similarly cacophonous tripe from other bands to last a lifetime - think Glass Hammer, (worst of) Spock's Beard, Pure Reason Revolution, Southern Empire....and there are plenty more examples. I really like BBT and don't want or need them to fall into the same ugly trap as the aforementioned bunch. If, however, the wholly unwelcome interlude within Beneath the Masts in any way signals the band's future direction of travel, I fear our relationship might end up hitting the proverbial buffers. Permanently. I very much hope not.

Four stars.

When Alberto Bravin was revealed as the new vocalist for Big Big Train, bringing with him his previous experience as the lead singer of the Italian band Premiata Forneria Marconi, the transition didn't simply entail entering the studio to record the next album. It was essential to subject him to a trial by fire, assessing the public's acceptance in live performances with Bravin in the lineup and understanding the extent of the reception he would receive - or not.

The overwhelmingly positive response from fans most likely played a crucial role in providing the band with the necessary confidence to work more smoothly on new material. The warm reception from the audience not only validated Bravin's selection as the new vocalist but also contributed to an environment conducive to creating new music, allowing the band to explore new directions with a solid base of support from its followers.

There is a striking similarity between Bravin's entry into the band and David Longdon's arrival during the recording of "Underfall Yard" regarding the active role both assumed. Like Longdon, Bravin didn't express a desire to be merely a performer on his debut; he significantly contributed to the composition, with his name associated with five of the eight tracks on the album. Additionally, Bravin played an additional role in co-mixing the record. Bravin's proactive involvement in creating the album not only highlights his versatility as a musician but also solidifies his position as an integral and involved member in Big Big Train's creative dynamics. His contribution isn't limited solely to vocal interpretation but extends to musical composition and production, demonstrating a strong commitment to the band's artistic process.

"Light Left In The Day" serves as the album's opening piece. Despite being almost 100% instrumental, it still carries enough lyrical weight to convey a message that inspires courage, perseverance, and resilience in the face of challenges or difficulties. It starts with a serene sound, but it doesn't take long to shift direction, delivering from then on a heavier and more symphonic instrumentation, strengthened with some brass accents. If there was still any doubt about what the band would deliver after going through such a turbulent period, I say with happiness in my heart, Big Big Train continues firmly with all its essence and peak.

"Oblivion" was the first single released by the band. Lyrically, it addresses disillusionment, introspection, and the search for something more significant in life, delving into complex themes related to internal struggle, disappointments, and the quest for meaning in life. Perhaps the idea of releasing it as the first single arose because it sounds somewhat familiar. It's a straightforward rock piece, but it still has dynamic and yet complex guitars and a precise rhythmic section, while Bravin's vocals echo a kind of delivery that is essential for Big Big Train's songs to function as they should.

"Beneath the Masts," at over 17 minutes, is the album's epic. A poetic and evocative narrative, divided into different parts, each offering a perspective or moment in history. Right from its first few seconds, it's evident that we're faced with a piece that follows the classic mold of the band and grows gradually, with no one necessarily standing out? although Clare Lindley's work on the violin is impressive at some points?but rather a group of musicians without vanity, concerned with sounding brilliant as a whole. I must also highlight Bravin's delivery with his wonderful performance on a track that explores themes such as life's journey, transition, farewell, and reflection on time passed. The poetic language combined with vivid imagery drawn by the instrumentation helps create an emotional and captivating atmosphere.

"Skates On" conveys a message about fully living in the present, embracing life's joys, and moving forward with resilience, even when confronted by the uncertainties that mark our path. It doesn't sound as impressive as the previous tracks, which is actually quite good as it allows the listener to catch their breath. Initially, it has an acoustic lightness and then develops within a refined harmony. The message here is positive, encouraging the appreciation of life and the pursuit of meaningful moments, as well as overcoming challenges and appreciating the present.

"Miramare," as the name suggests, the band alludes to the castle of the same name located in Trieste (Bravin's city). Through a very well-developed narrative, the band tells a story that addresses travel, separation, challenges, farewells, and sacrifice, all always very well illustrated through harmonies that evoke a captivating atmosphere. Bravin once again stands out as an exceptional and lovely performer with his unique ability. Meanwhile, the band demonstrates instrumental virtuosity, delivering a superb performance. Aside from the excellent and engaging violin solo - and another more vehement guitar solo - the band once again - or as it usually does most of the time - swaps a testimony focused on individual skills for a direction where the entire group stands out within instrumental passages full of energy and sophistication.

"Love Is The Light" is a beautiful ballad, surely one of the best in the group's entire catalog. Here, the band explores themes such as struggle, perseverance, and the rediscovery of love. Touching, dramatic, and incredibly sensitive, the vocals sound profound, while instrumentally, the highlight lies in the beautiful violin flourishes and the guitar solo, which within its simplicity manages to deliver something truly emotional that seems to embrace the listener. Each note and chord is like careful brushstrokes, delineating a sonic canvas that not only engages the ears but also touches the soul. A true message of facing adversity, seeking love and renewal, highlighting that love can be a source of light and strength - as the song's title itself makes clear.

"Bookmarks," in a very emotive way, seems to narrate a journey through time, filled with memories, lasting friendships, and challenges. When the first verses are sung by Bravin, it's impossible not to remember Longdon. With a pastoral atmosphere, keyboards, mellotron, and vocals play crucial roles, revealing themselves as essential elements in building a silent, almost hypnotic atmosphere. As it unfolds, the music creates a melancholic and nostalgic aura, with elegant and well-harmonized vocals accompanied by a rich instrumentation, highlighting the gracefulness of the guitars and violin. Exploring universal themes such as friendship, time, loss, and new beginnings, the band provides a poetic and emotive narrative that reflects on the journey of life.

"Last Eleven" marks the end of this extraordinary musical journey. It was the band's first composition after Longdon's sad departure. It alternates between grave and delicate moments, sounding like a reflection of life's nuances. The piece stands out through its intricate melodic developments, incorporating changes in time signature and unexpected "tight turns" that enrich the listening experience with various cadences and twists. The band seems to be sending a message to themselves, conveying a motivational message about resilience, finding strength in unity, overcoming adversity, and redefining one's worth, in other words, everything they had to do to continue with the band after Longdon's death.

With mastery, Big Big Train continues to skillfully explore the more accessible corners of progressive music. An album that stands out as a magnificent melodic work, where remarkably elaborate compositions and high-quality collective execution embrace to create something truly grandiose. The commitment to musical quality resonates in every note, showing the group's ability to evolve and maintain its relevance over time. "The Like of Us" sounds like a love letter in which the group honors its past and dedicates to longtime fans, while also revealing itself as an inviting boarding station for new admirers, while pointing to an intense and promising future.

I remember 20 years ago when I first bought a ticket on the Big Big Train, by purchasing "Gathering Speed", a fantastic discovery that I had most positively reviewed a year later. The album garnered praise for its historical revisit of that seminal moment when the Battle of Britain raged above the island's skies, as bombs rained down from the Luftwaffe and Spitfires raced to save the day. I look back at that review and realize that the title certainly applied to my future loyalty, as I have purchased every studio album since, numbering 12 with this new 2024 arrival. "The Likes of Us" is the first full album featuring Alberto Bravin, who has come to take over from the tragically departed David Longdon as lead vocalist and multi-instrumentalist, and he has fit in seamlessly. There have also been some major personnel adjustments as well, notably Dave Gregory, Andy Poole, Danny Manners, and Rachel Hall have moved on. They have handed over their seats to celebrated guitarist Dave Foster, Oskar Holldorf on keyboards and Clare Lindley on violin. Renaissance means essentially rebirth and that is exactly the one word that defines this release.

From the first seconds of the plaintively crystalline "Light Left in the Day", a warm balm of serenity greets the listener, a calm after the storm symphonic gem, with a well-crafted and glorious melody, first initiated by voice, then an elegant piano elevates the theme to bloom into quite the ride, the original conductor still at the helm, as Greg Spawton's undulating bass powers the rhythmic locomotive, just as the synthesizers flirt expertly with the brass crew. The effortless segue into the stormy "Oblivion" showcases the immaculate ability to transition into a rockier piece, powered by a pummelling rhythm section, dual electric guitar weavings, and a passionate vocal delivery that expresses the sense of obvious pain that can overpower human life, as we all must face ultimately numerous struggles, irrespective of our standing on this blue earth.

And here comes the big big one, (you will excuse the easy wordplay), as the colossal "Beneath the Masks" stretches its rails for nearly 18 minutes of chugging splendour, in presenting an entire journey, lush with abundant poetry and charming musical diversity. Nothing is rushed, samey or unnecessary, each word and each sound like a breathing lung, obeying a resilient heart that keeps pumping its oxygen throughout the body and the soul. Dotted throughout with superb sonic adjustments, the vocal delivery seems utterly genuine and committed. Halfway through, the arrangement picks up a fair amount of steam, as hot coals of fiery keyboard and sizzling guitars are tossed into the musical furnace. Intensity, perhaps even delirium is slain by the manifestation of the mighty mellotron, as the celestial station appears in the skies above, where panacea in ambient lament soothes the senses in impending revelation. A voice and an acoustic guitar awaits in magical awareness, finalizing in a sublime emotionally engrossing finale that crowns this majestic epic.

Respite comes in the form of the pastoral "Skates On", showing off the characteristic British folk tendencies that has an immediacy and a glow that is unique in the musical world, a simple elegance that could make everyone sing along in the pub, warm beer in hand. Some acoustic guitar, violin, and a voice full of hope. Lovely is the word. Another foremost moment is to be found in another epic piece, the 10 minute + of the cinematic "Miramare", a look out to the Mediterranean Sea that conjures a slew of adventurous images, Bravin expertly expressing the beauty of a titanic melody crying out for meaningful words. As is often the case with this storied band of devoted team players, the whole is greater than the sum of its parts and no single spotlight needs to shine on one particular performer. They all excel at fusing their evident talent to each other as well as the demands of the composition. This is not just playing or jamming, but an incredible thought process, a steadfast cohesion that explains why any progfan chooses to loyally follow this super group of dedicated musicians.

There is nothing corny about "Love is the Light", a crushingly gorgeous ballad that has a poignancy that veers on tears, not of pain but of pure joy. Bravin delivers a world class performance that oddly enough, reminds me of one of my all-time favourite tracks Anathema's "Dreaming Light" and Vince Cavanaugh's extraordinary vocal. The violin, the guitar and the backing harmony choir combined to put me on my knees in sheer submission. Some may find it a bit cheesy but please let me gently remind everyone that France alone can boast of having over 1200 varieties. It is here as a variation piece that has nothing to do with commercialism or radio friendliness, just a song about passion and hope. "Bookmarks" follows a breezy path, sophisticated in its nostalgic simplicity, the violin still streaking along with a classical piano, elevated by some clever string arrangements. This is perhaps the most orchestrated track here, without any need for thunder or lightning.

The finale serves perhaps to illustrate the immense tragedy of losing a close friend and collaborator, as the lyrics clearly evoke those raw feelings. Hence, on one hand, we have sombre clouds of mellotron slashed by a courageous bass guitar line and on the other hand, facing an optimistic violin, a vocal full of resilient positivity and lyrics that seek to defy the darkness and forge ahead with determined courage and devotion to their craft. Musicians should be pretty adept at taking adversity by the horns and inspired enough to express their suffering as well as surmounting it. "Last Eleven" and this album in its entirety certainly puts a massive exclamation point early on in 2024, offering hope in a gloom-ridden world, proving once again as it has so many times done before, that music can be and often is a healing form of medicine with zero prescriptions, no side effects, and no danger of overdose. The RAF saved the day then, BBT does it today. Renaissance indeed.

5 fearless memories

Fantastic and experienced Bournemouth-founded prog rock band Big Big Train rise above the adversity of losing a core band member, perhaps even a member that could be considered the face of the band, during their most successful period both critically and commercially. This is how important and impactful David Longdon was for the musical collective he fronted for more than a decade, leading his band through nine great albums. His passing as well as some lineup changes seem to have stirred up the Big Big Train camp, as it has not remained unnoticed how many of the members that defined this Longdon-led lineup also left the band in recent years, for various reasons perhaps. Which leads to a situation in which ex-Spock's Beard frontman Nick D'Virgilio becomes the member with the second-oldest tenure with ...Train, after founding member and bassist Greg Spawton.

In such an unusual situation, many bands would likely tear apart or cease to write, record, or perform music, while Big Big Train have been able to reform in the most interesting way possible. With a "regenerated" lineup, extremely international currently, the band presents its latest release titled "The Likes of Us", the first album of original material after Longdon's passing, but also the first formal introduction of their incredible new vocalist Alberto Bravin, formerly of Premiata Forneria Marconi, well-known Italian prog band from the 70s. Alongside him, new keyboard player Oskar Holldorf, a compatriot of Rikard Sjöblom makes his official album debut as well.

Musically this new release is quite gorgeous! Big Big Train seem to be as inspired as always in making musical adventures a reality, with their incredible ability of constructing great albums, very melodic and very balanced, delivering enough pastoral and dreamy soundscapes as well as a sufficient number of tasty and proggy moments, simply creating an album full of everything that makes this band special, yet the music sounds uplifting and vigorous, in a way reminding me of their last two albums, as this one seemingly picks off where they last left but this time their work gives off a more cerebral impression, more grandiose and inspired.

Whether it be the lovely opening track, nearly all-instrumental with a tint of Genesis, or the powerhouse 'Oblivion', a song that is a contender for one of their liveliest tracks alongside 'Alive'. Their 17-minute epic 'Beneath the Masts' is a beautiful celebration of modern progressive rock, with the new vocalist fitting in more than perfectly in the larger-than-life musical soundscapes producing by his six other bandmates. Surely the soothing and stable tones of his voice have been a decisive factor upon his selection as BBT's new frontman. 'Skates On' is a more acoustic track on here, once again exquisitely melodic, while 'Miramare' is another strong entry on 'The Likes of Us', with some cinematic instrumental passages and once again brilliant singing. The rest of the album brings out different sides of the band, always remaining true to their goal of presenting the current 'state of affairs' of the band's music.

The album is truly great, not a single unintriguing second of it, very well-produced and assembled, presenting a bit of everything that one might (or might not) expect from Big Big Train, who despite the swooping events within their band's universe, have risen above and have once again reaffirmed themselves as one of the most consistent and important names of modern progressive rock. New vocalist impresses all throughout with his exceptional performance, the music is as good as always, the songs are great, and this album could for some be a surprisingly good discography entry, but nevertheless very important for the band.

Big Big Train, one of the premier prog bands of the 2000s, has been through a lot over the past few years. In 2019, half the band (including guitarist Dave Gregory, Andy Poole, Danny Manners, and string player Rachel Hall) quit, leaving the remaining core members (David Longdon, Greg Spawton, Rikard Sjoblom, and Nick D'Virgilio) to regroup and refocus. They did so brilliantly, coming back with the great album Common Ground in 2021, and showing some new directions. However, in late 2021, the band was devastated by the tragic accidental death of lead vocalist-multi-instrumentalis-composer David Longdon, and put the future of the band in doubt. But they have regrouped once again, adding vocalist and multi-instrumentalist Alberto Bravin, as well as Dave Foster on guitar, Oskar Holdorff on keyboards, and Claire Lindley on violin, and released this latest album, and it is another triumphant return for the band. Alerto Bravin brings a different presence to the band, as he doesn't try to sound like Longdon, but has his own style and commanding voice that is all his own. He also has added substantially in the songwriting, playing, and arrangements of many of the songs on the album. Although forging on in some new directions, the album maintains the the essence of what makes Big Big Train great, with beautiful melodies, soaring instrumental passages, evocative narratives, and sweeping majestic themes, maintaining effective use of strings and horns, as well occasional bursts of heavier prog instrumental sections. From the shorter more rock-oriented Oblivion, to the beautiful ballads like Love is the Light, to the pastoral splendor and symphonic grandness of Light Left in the Day, to the magnificent epic Beneath the Masts, which has everything one could want in an epic-length BBT song (and will take its place among their greats), the album delivers another astounding chapter in the musical adventures of BBT, and continues their reign, at least for me, at the top of modern progressive rock. Best Tracks: Beneath the Masts, Miramare, Light Left in the Day, Oblivion, Last Eleven. Rating: 4.5 stars

One can only imagine what the band were going through when they came together to record this, as it would be the first album without David Longdon. When they were looking for a replacement Nick D'Virgilio and Greg Spawton remembered seeing Alberto Bravin perform with Premiata Forneria Marconi (PFM) and felt he would be a good fit as he had a quite different vocal approach, but no-one quite expected just how well it would work out as he transpired to be a wonderful songwriter (co-writing five of the eight songs) as well as working on the mix with Rob Aubrey. It was the first time the band had recorded together in the same room for some time as opposed to swapping sound files, and all these circumstances combined to create one of the most dynamic albums they have ever released. While I have known BBT for more than 30 years, I have known Dave Foster for nearly as long (reviewing the debut tape of Mr So & So all the way back in 1992), and there are times here when he has been allowed to crank it just that little bit more which gives them a strong rock edge which has been missing in some of their releases in the past.

With a few multi-instrumentalists in the line-up, as well as their brass section and multiple singers, BBT have allowed themselves to really stretch their wings and show why they are now regarded by many as one of our finest progressive bands. There are times when we get throwbacks to classic Genesis, then we get strong feelings of the Sixties, then the more pastoral and Seventies before moving into something far more bombastic. This is an incredibly broad and deep album, all the time allowing Bravin to really shine ? his wonderfully clear and melodic vocals are very different to Longdon, and he is majestic in his own right whether he is singing against the whole band, or just a violin, or leading the majestic harmonies.

As well as musically, the band have also made a change in the way they approach the subject matter. Barring a couple of exceptions, its songs are more personal in nature than previously, which often addressed folklore and tales of old Britain with a historical twist, or as Spawton puts it "third person storytelling songs". "This time," he qualifies, "we went largely for personal recollections." There is no doubt that the tragic death of Longdon is the reason for the more insular approach, as everyone reflected on their lives which allows the listener to find words which resonate with them. This is very much an album where it can be played and enjoyed the first time of hearing, but the more one pays close attention the more one realised the impact of the drum fill here, the brass section there, that violin just coming in and out, or the piano replacing the swathes of keyboards. It would have been easy for the band to play it safe with this release, yet somehow, they have pushed themselves to create something which is nothing short of a masterpiece.

The band have been through many different iterations through their career, not just in line-up but in musical approach, and here they are building on the shoulders of giants as they move boldly into the next stage.

1. Light Left in the Day rural intro with stringed instruments, solemn piano, Nick who performs better than Mike from Dream Theater; Clare's violin which does not only do the vocals, Rikard and Dave who also perform divinely, yes the start has no weak point and shows the dexterity of each on agreed but held prog metal 2. Oblivion in continuity with choruses forward; a time and Alberto, a worthy successor to the late David, sets the table, a soft and dynamic voice at the same time on a title with a varied tempo; already a quiet break then the final climb with Greg's bass in front, everything is there to cuddle the proguous fan in the direction of his last hair 3. Beneath the Masts for the play; intro to GENESIS for the Bankian piano, nursery rhyme about their era 76; to sit down and listen is enough; the reminiscences are numerous, but the BBT sound also becomes a reference, building over the course of its discography; ah this piece takes me back to the fabulous suite of Six Degrees by Dream Theater, yes the symphonic CD2 that's it; ah this station wagon which makes me think of the man who was worth 3 billion and his suite with brass instruments miming a frenzied race; the finale with the guitar arpeggio, Alberto whispering, the relative silence of this string before the last wave of sound, like a rogue wave which sweeps away everything in its path; yes we had to take time to domesticate this album, perfect for the moment

4. Skates On for the smallest piece with a Scottish atmosphere, violin near a fishing port; pre-crooner musical liquor for fans of the timeless melodies of GENESIS, yes I insist on the deep reminiscence 5. Miramare with the attack of the second side, yes I like to take a breather when the album is long; same construction, I'm starting to get used to the sound, finally I find some TOTO there, it makes me wonder; fruitier air with traditional instruments that sound like marshmallows, a little too conventional; bam the symphonic break that explodes in the ears, the rolling of drums, the frenzy of the trumpets, the air goes to the Balkans with this insatiable violin; today's prog is there with a final bold guitar solo bursting with emotion; the sound power is matched only by its musical aberrations and leaves you speechless 6. Love Is the Light for the intro arpeggio piano, guitar and violin, supported by trumpets, yes more trumpets; we are far from the prog metal of the beginning; the pleasant choirs drive home the syrupy ballad, made with the best fruits of the orchard; I can't help but name Neal MORSE for this angelic moment; the choirs until the end amplify the melodic marshmallow side 7. Bookmarks and another wise arpeggio intro; Alberto shows that the group has found a good singer in the lineage, which is no small wink; complacent Genesisian air from the time when there were only three of them and where melancholy oozed from some of their titles, the opportunity to see a group that makes melodic prog rock with a divine tendency? It's beautiful, but it's decreasing in intensity, it feels like we're on a TRANSATLANTIC now, well there's worse 8. Last Eleven yes I won't tell you the piece from GENESIS that I'm thinking of, but it's strong; a piece in drawer with a sung title and progressive incursions into the depths of our musical memory, the very present bass then the velvet keyboard which takes you very far; the choruses intensify the pompous side and bring back an impression of repetition however, yes too. The final acoustic arpeggio leaves the listener perplexed, very good yes, excellent no in fact.

The band's first studio album of new material since the tragic and untimely death of Dave Longdon.

1. "Light Left in the Day" (6:11) my first introduction to the singing voice and stylistic preferences of new lead vocalists Alberto Bravin puts him immediately in the category of Andreas Bocelli-like wannabe opera singers; he's definitely got a flare for dramatic, theatric, emotionally-packed performance. (No wonder he held a post in PFM for a spell in the 20teens.) The music that follows the first two minutes of vocal-led fare is full on bombastic stage-worthy prog--music that sounds like an impressive introductory piece (or "overture") to a West End/Broadway musical. It definitely still sounds like Big Big Train, pushing all of the requisite buttons of competency, proficiency, performative and compositional skill. Solid. Good. Nothing special or breakthrough/innovative. (8.875/10)

2. "Oblivion" (5:28) an interesting bombastic opening 45 seconds that harkens back not only to 1970s GENESIS as well as many 21st Century RPI bands turns into something that sounds more like a power song from a 1980s hair band with the one exception being the chunky bass guitar play. The shifting stylistic, sonic, and instrumental palettes throughout this song is definitely interesting. I'm especially enamored of the folk-like motif bridging the fourth and fifth minutes; not so much the 1980s hairband motif. (8.875/10)

3. "Beneath the Masts" (17:26) strings, real and synthetic, open this with a pretty, pastoral, and heart-tugging nostalgic motif that continues to morph and flow into more acoustic-based folk-tinged music--a piano and acoustic-guitar motif that Alberto begins to sing over around the 2:25 mark. After Alberto finishes his first verse, piano and strings enter into a gentle, loving conversation. Then, at 4:15, the guitar picking shifts into a different progression before being joined by the bass and drums--over which Alberto rejoins singing in a more forceful and sometimes emphatic voice (sometimes sounding like a cross between Tommy Shaw and Freddie Mercury). Stereotypic GENESIS-like NeoProg section in the seventh minute gives way to some horns in the eighth before reviving in another, still very GENESIS-like patch over which Alberto delivers a refreshingly-different vocal (one that is closer to STYX or AMBROSIA than Genesis). At 9:30 the band lights up with a requisite instrumental section. There are lots of keyboard, guitar, and even electric violin riffs and flourishes being thrown about in a very ANDY TILLISON-kind of bombastic way. At 11:48 they try a side road of more angular, off-time music, but then everybody comes together beneath the glow of the Mellotron's angel choir and Rutherfordian bass pedals. At 13:25 the instrumental palette returns to the song's opening palette of pastoral acoustic folk instruments. Alberto returns, singing once again in the more languishing storytelling approach that he used in the song's opening sections, until, that is, the crash of bombast strikes at 15:15, leading us to a predictably climactic finish. I love the richly-"orchestrated" bucolic parts as well as some of the bombast and vocal stylings. It's certainly hard to find any band in this day and age doing more competent and mature prog epics. (31.75/35)

4. "Skates On" (4:28) 12-string guitars picking GENESIS-like pre-empt the STYX/TOTO and especially QUEEN-like vocal motifs that follow. Would that I could "hear" lyrics (and, thereby, catch their meaning) this song might have more significance for me. Otherwise, it's a perfectly nice tune. (8.875/10)

5. "Miramare" (10:18) after the QUEEN-like choir vocal intro, this song sounds very much like a power ballad from a Disney musical animation film. After 90 seconds of this the full band kicks in. It's a fairly typical BBT palette making this motif: a fairly rich symphonic weave of full prog rock instrumental complement--including piano and violin and chunky bass. The vocals are good though the full choral complement and b vox sound almost AI/computer generated (or treated--or from a vocoder). Nice delicate, folk-like motif starts in the fifth minute, turning GENESIS bombastic in the sixth for an exciting almost-cinematic seventh. Too bad the keyboard sounds used in the lead sound like they come from a cheap 1990s MIDI keyboard. The next sparsely-populated (piano and violin) section feels so like something from a Disney musical or Andrew Lloyd WEBER stage musical. Then we pick back up into an instrumental break for some nice duel guitar shredding. In the end the vocalist just sounds too much like too many other British NeoProg lead singers. (17.6667/20)

6. "Love Is the Light" (6:11) another perfectly innocuous song that sounds and feels as if it comes from a group of mature song craftsmen: there is little fat, a lot of high quality grist and grit with some excellently creative seasonings delivering nourishment that will become tomorrow's feces and forgotten by the next day. (8.875/10)

7. "Bookmarks" (6:23) here, again, Alberto's gift as a stage musical leading man is on full display. He's definitely engaging, even riveting, in the spotlight. The choreography around him--both instrumentally/musically and choral performatively--are of the very highest quality: I'm certain that this is a musical that I would fully enjoy if seen in the theater. I just don't think I'd remember any of the music afterward--I'd just remember the performances and the overall emotional impression I received from the play. Still, I feel that there is some of the same quality of performer-listener conveyance achieved by the band from the English Electric albums. (9/10)

8. "Last Eleven" (7:55) great music over which Alberto delivers an awesome vocal that sounds so much like Michael Sadler's amazing vocal on SAGA's first big hit, "On the Loose." I love the musical arrangements throughout this--especially the vocal melodies and a choral arrangements--but I have to single out Greg Spawton's chunky electric bass as it has never sounded better or been more fitting that to the music and vocals of this song. This is by far my favorite song on the album. It just hits me to the core! I only wish that the final motif (beginning in the seventh minute) didn't almost lose me. (14/15)

Total Time 64:20

There is a lot to enjoy here, not much to criticise or turn one's nose up to. My musical likes--perhaps more accurately termed, my musical requirements or "needs"--just do not have much room for, or receive much nourishment from, this fare anymore.

B+/4.5 stars; a near-masterpiece of masterfully- and lovingly-performed, composed, and recorded music that may become remembered as one of the best albums the band ever did.

I know Big Big Train are one the the current big prog groups. I have a number of their albums including The Underfall Yard, the title track of which I really like. I struggle to match them up however to the titans of prog like Genesis et al.

This album starts off well, but to be honest although I have given it numerous hearings I am struggling to rate it higher than 2 to 3 stars. To me there is nothing that stands out. The first track starts off well and other tracks have their moments, but to me the overall quality is not there.

I have seen Big Big Train live when they performed this album. The performance stood up better than the CD recording I have and the stage act is very accomplished The new vocalist is polished but I found the vocals and what he was singing about was not very memorable. Having given this a good airing to try to like it, the CD is unfortunately now unlikely to get much further air play.

BBT try very hard but do not quite cut the mustard.

Sarah Ewing's sunny cover picture and booklet illustrations point towards a new start, but in the central band photo everyone looks as if they're suffering from serious food poisoning. (Everyone, except new lead singer Alberto Bravin, that is: he's taken up a dominant position and indeed, his role in the band seems crucial - of the eight tracks on the album he co-wrote five, and he also helped Rob Aubrey with the mixing.)

This dichotomy, if you like, is reflected in the music. Some of the material is lovely; at other times the band seem to be sinking under the weight of their good intentions.

Let me focus on the disappointments first. The album opens touchingly, with a mournful statement that we should all 'make the most of the light left in the day', but the instrumental development that ensues sounds hollow, like the overture to a second-rate rock opera. I'm afraid the ten minute 'Miramare' also failed to convince me. The piece comes across as a dramatic mini-oratorio, and I'll admit it features impressive choruses, but the lyrics are trite, and no true emotion speaks from Bravin's lead vocal. (As far as I can tell, the track deals with a woman whose lover drowns at sea, but when Bravin sings 'Now they say / she still wanders in this place / all alone', his words sound utterly passionless.) 'Last Eleven', the final track, caused me similar problems: there's some lovely twelve-string-playing and a charming - all too brief - synth solo, but I kept thinking: where's the TUNE? (Perhaps my problems will all be resolved when I get to hear a live performance of these songs, which should be made available on the 2025 live album ARE WE NEARLY THERE YET...)

To my relief, THE LIKES OF US also features 'classic BBT'. 'Oblivion' is a zesty tune; 'Bookmarks' is lovely and features some tasty violin; 'Love Is The Light' is corny but you can't get it out of your head; and 'Beneath the Masts', the most ambitious track of all, had me cheering. There is, of course, an underlying melancholy to it, but it features an exciting instrumental section (shades of E.L.P., with some excellent solos on guitar and violin). At the end of the piece, when a synth takes up the song's main theme, the music sounds wonderfully triumphant, and when Bravin intones the words 'The moon is rising', I even thought: here we have BBT at their most sublime!

So how to rate this album? I'm facing a familiar dilemma: 'three and a half stars really'... If you're a dedicated BBT fan, you'll definitely want this. Everyone else should first check out the far superior studio albums the band released between 2008 and 2018.

Wow|! For a long time I thought English Electric Part 2 was the best Big Big Train record of their extensive discography. Now I´m not so sure. I bought this CD without hearing as single note, just because a friend in a local estore told me it was released in Brazil (the first BBT to be released here). And I have no regrets! I always knew that a record from this band was garanteed of at least good music, but I was not ready for such masterpiece of music.

The first full release of original material since the unexpected and very sad passing of former singer/multi instrumentist David Longdon, the album is packed with emotion, melancholy and inspiration. Certainly the feeling of sorrow pervates most of the songs, but it is not a downer. In fact, it´s more celebratory than mournful, and the melodies are simply gorgeous. I have seen many bands trying to emulate Genesis take on the 12 string acoustic guitar, but BBT is one of the very few tht really suceed in capturing the vibe of Peter Gabriel´s era band. The arrangements are just perfect and after months listening to it I still cannot find any fault. The songwriting, performances and production are all top notch.

New singer Alberto Bravin was a inspirational choice: the guy co-writes five of the the eight tracks, plays several instruments (but, alas, no flute!) and has a excellent voice. It´s hard to believe this is his first studio with the band. He sounds like he´s been with them forever! And the band is so tight and harmonical, the instrumental parts are fantastic, you have to listen to believe.

The Likes fo Us is one of the very few records nowadays I enjoy from start to finish without skipping a single track, even though it´s quite varied and ecclectic. All songs are highlights in some way and there is not a single weak track to be found. Even the ballad Love Is The Light (written for Bravin´s wife) is one of the most poignant I heard in a long time. The backing vocals are another great feature too.

After all those years (and a string of great works), Big Big Train still is capable of producing something powerful and unique. If you like inspirational, emotional and elaborated music, you can´t miss this masterpiece of prog music. It was the album of the year for me. Those guys are really one fo a kind.

Rating: five stars for a perfect album.