SEAN FILKINS

Prior this his debut solo album Sean had made a name for himself with both Big Big Train and Lorien, and so I approached this with some interest. There are also a large number of guest musicians involved, including Gary Chandler (Jadis), Dave Meros (Spock's Beard), John Mitchell (It Bites, Frost) and Lee Abraham (Galahad) so given that I also like all of these bands I thought that we may just be onto a winner here. It commences with the sound of a kettle boiling and then someone making a cup of tea while listening to a brass band playing "Jerusalem" on the radio. Yes, it's all very English in the extreme but I don't get it. My initial reaction was that Kiss did it much better at the beginning of 'Destroyer' many years earlier so why bother? But, my initial reaction soon faded as we were flung headlong into "The English Eccentric" which moves from electric to acoustic guitar as the mood and style moves here and there. Sean has a really great vocal style, and soon I was lost in the world and had almost forgiven him for the over-indulgent start to the album.

The longest song on the album is "Epitaph For A Mariner", and it starts with a church organ and a young singer singing the first verse of "For Those In Peril On The Sea". As soon as I hear that my feeling on the album took a major twist and I found myself listening intensely to what was going on. I was raised in fishing community in the West of England, where not only do our churches have the standard Harvest Festival but also Harvest of the Sea. That hymn is something I sang many times when I was younger, as it was always a major part of the service when the community asked for the trawlermen to be watched over and brought back safe. Although not many fishermen were lost at sea, it always greatly affected the town when it happened. I found myself back in my youth, feeling very English (these days I am a proud Kiwi), and feeling that I was starting to understand the album and what Sean was attempting to achieve.

Overall I feel he managed it, and the result is a prog album that is indeed very English in lots of ways, looking backwards and also forweards to the future and one that is well worth investigating. www.f2music.co.uk

There are few affectations that get on my nerves faster than English musicians - and prog musicians in particular seem to be chronic for this - who make a big deal about how whimsically English they are. Perhaps I merely suffer from a chronic lack of patriotism, but I prefer to think that it's they who have a chronic lack of personality and seek to fill it in with an easy, prepackaged bundle of quirks which don't actually add up to much.

So, perhaps War and Peace by Sean Filkins was doomed to not impress me when Filkins decided to make a 1 minute intro track consisting solely of him tuning a radio to some patriotic music and making himself a cup of tea. (That's another thing I can't stand: excessive fetishisation of tea. It's a drink. It's a sodding drink and it isn't even that good of one.) The first proper track, the English Eccentric, reveals that Filkins isn't actually that eccentric after all: what's on offer here consists of a rather bombastic style of prog consisting of most of the obvious influences from the 1970s, 80s, and 90s, with occasional harder-edged influences creeping in at the corners with the guitar work. The rest of the album proceeds in a similar vein. As far as solo orgies of multi-instrumentalist tootling go, it's technically adept and shows off Filkins' skills nicely but doesn't quite manage to have anything interesting to say or to connect on an emotional level except to irritate and annoy.

I can definitely hear some sounds of Big Big Train's "Gathering Speed" here but I reckon that probably owes a lot to the fact that Sean Filkins took the microphone on that album for the masters of prog from Bournemouth. For this one, his first solo album, Sean Filkins (with a little help from his friends) has really nailed it here. I've played the album several times since I bought it on Sean's website and while "Epitaph for a Mariner" is the centrepiece, its an album that I play in its entirety from start to finish. I don't pick and choose individual tracks like I would with some other albums. I know I'll keep returning to this album repeatedly in the years to come. Congrats Sean, hope you follow "War and Peace and Other Short Stories" with something equally as rich and pleasing.

Sean Filkins has been drawing rave reviews and considerable praise lately which is odd since he is no newcomer by any stretch, having been involved with Big Big Train (lead vocalist up to The Difference Machine) , neo-prog outfit Lorien as well as spacemen Soma. He has a unique voice that is immediately identifiable, powerful yet good-natured. I actually regretted his BBT replacement with Phil Collins-clone David Longdon, who was recruited for 'the Underfall Yard' sessions. But I guess it took a well-crafted solo album, aided and abetted by a bevy of fellow musicians who respect his talents to really enter the elite. The man knows how to be playfully inventive, beginning with a brief overture that nods and winks at an old IQ title ('Are You Sitting Comfortably?' and then tossing in some weird radio static that features Jerusalem, that fabled English church standard made famous by Vangelis, Jeff Beck and ELP. ' The English Eccentric' is a perfect introduction, coming across like a heavier version of the similarly gifted songwriters Steve Thorne and Guy Manning, seasoned with some grandiose arrangements that veer closer to the Tangent or even the Flower Kings. I find it interesting when some complain of too much fat (prog is like good Alberta beef, you need a little fat to provide flavor) or flaws that serve only to de- sterilize a genre that can easily fall prey to formula. Let us not forget that this is a solo album and as such is way more of a personal musical statement than a group effort.

This is a fine recording that incorporates a wide variety of interesting modules such as the sitar spirals at the onset of the massive 2 part epic Prisoner of Conscience or the Jon Andersonisms of the beginning of Part 2 that is like a demo version of the mythical The Friends of Mr.Cairo (Jon & Vangelis). There are some highly virtuosic performances here, on assorted guitars and bass courtesy of Lee Abraham (Galahad) and Arena's John Mitchell on lead guitar. Anything that has the word 'Epitaph' scares the 'bejesus' out of me, as if anything would dare to come close to the King Crimson masterpiece, arguably my all-time favorite piece of music. Not to worry but close as the whopping nearly 21 minute behemoth 'Epitaph for A Mariner' is a colossal composition of impeccable lineage , a soothing siren wail (Abigail Filkins, I presume) that sets a comfortable numbness, sizzling synth flights that sear the supersymphonic backbone and some truly beatific vocals from the big, big conductor himself. When faced with the challenges of such a huge piece of music, dynamic continuity and intelligent spacing is primordial. This comp has that demeanor in spades. Beautiful timeless music mercifully crested with a gripping slide guitar solo. As mentioned by some PA colleagues, this track alone is worth the price of admission, no refund policy needed. The piano fadeout is heartrendingly evocative.

'Learn How to Learn' is a fitting finale and I am perhaps the first to mention this but there is a definite undercurrent of Yes influence in Sean's singing and lyricism that seeks not to plagiarize but to provide a sense of immortality which the Squireboys have not revisited since 'Drama'. All the praise and galactic asteroids are entirely deserved. And then some''

5 Leo Tolstoys

I wonder what this tune in the background of Are You Sitting Comfortably? can it be anthem of some kind (or rather something less prominent, but England related, perhaps wartime brass song?), but don't tell me. I could have looked it up anyway, but wanted to find out by myself.

But nope, don't expect me to understand the story yet. It's my 6th listen or so and it will take some more listens, but that's the point - the album is as good as the first one (actually even better, I am starting to appreciate subtle elements in the music, that's always a good sign).

So the funny thing (damn ironic too if you ask me) is that I never actually liked Sean's performance in Big Big Train that much. You can say that I liked the vocals, but I didn't like the music. However I consider "Underfall" as a pinnacle in their discography and "War and Peace" reminds me it a lot (at least some moments, very strong on The English Eccentric, whose often repeated lyrics line "'round his eyes" was a bit annoying to me at first, but then I began to like it more). Then comes tricky part - first, let's say one quarter of Prisoner of Conscience, Part 1: The Soldier, with its second quarter serving as a playground for Sean Filkins voice, clearly focusing on it, which is not a bad thing - as I said, he is proficient singer.

The music and melody ensues, but not just this, also half complex (my favourite kind - graduating type), half melodic music, which can be called third quarter. A lot of rocky parts here, which is fine. The last quarter is therefore ending (I suspect typical Prog epic pattern here), but ends surprisingly (at first I expected repeating of the song's motif).

Prisoner of Conscience, Part 2: The Ordinary Man starts differently, after the cataclysmic event, it emerges as quietly as possible, but then blooms into The Song. It's a fine one as well.

Epitaph For a Mariner is a bit weaker, again there is first quarter of something that I'll, for a lack of better word (OK I admit I have a better word and this is intentional) call ambience. Then it starts to moves slowly (the best metaphor would be probably an avalanche one) and ends even more epically than Part 1.

It probably won't be much of a surprise that Learn How to Learn again - starts quite quietly and ends on a high note, before ultimately ending quietly again (trait common to last two songs here, other three ends drastically).

On a related note, title of this song is also something you can call "story of my life", all my life I've been trying to learn how to learn, but always failed. The song probably have something else in mind, but this familiarity is also important for me.

All in all, one of the best albums of this year. There are flaws, but flawless album doesn't exist after all. I hope it's not subconsciousness hypnosis and I haven't put "rose coloured glasses" from the first song's lyrics on (not counting intro as a "song").

As vulpino stated, this is the first time i have ever written a review and felt compelled to after seeing some of the low star ratings for this CD. Which in my opinion is a Progressive Rock Gem and one that should be in everybody's Progressive Rock album collection.

Sean Filkins has created a fantastic album that covers many genres with a mixture of vast Symphonic pieces, world and folk music and out and out Heavy Rock, and with the help of some excellent musicians from Prog world (Dave Meros, John Mitchell, Lee Abraham, Darren Newitt), he has managed to put all these ideas together tp create six pieces of music that really make you sit up and listen. From the quirky "Are you sittting comfortably" tp start, which leads into the energetic English Eccentric, Filkins sends us on a spiralling musical journey, producing many musical highs, as in the ever expanding choruses of Prisoner Of Conscience The Soldier, to the instrumental finale of Epitaph.

The lyrics are also very meaningful, very poetic at times and help create the picture the Filkins describes. " A sardonic toast to the victims of the funeral pyre. The costly toll of love and life exchanged for blood and fire". All the lyrics are in the excellent booklet (created by Paul Tippet, artwork for It Bites amonst others) that has been produced with the CD and I found myselfreading them even when the CD had finished. This is one of those albums that deserves repeated listening from start to finish and the I listen the more I hear, as production from Lee Abraham and Filkins is top notch. This is without a doubt my album of 2011. Filkins has made a very bold statement for his first solo effort and I look forward to more from him in the following years to come. Awesome Stuff

This is the first time I have ever put pen to paper to review an album, but felt the need as I couldn't believe some of the low ratings this 5 star album has received. As one of only a handful of albums I have bought this year that I could honestly say is Progressive, this CD mixes elements of old and new and brings in fantastic world music sounds and themes in a way that really develops the story in each track to the listener in a contemporary way. Others do this, but end up sounding like other bands in their effort to please. Filkins has deviated from the norm by doing something a little bit different and managed to make everything almost seamlessly fuse together into what is for me the best Prog album to be produced in years. Great production, great songs, lifting choruses, soaring guitar solos, beautiful melodies, poignant lyrics. This album has it all. What else can I say, except that for a first effort at solo writing and performing, this is excellent and a true example of the prog rock genre. Filkins has assembled a group of first class musicians who do a terrific job interpreting his writing with lyrics and music blended together by changing tempos and a huge range of instruments. Highlights are many but the guitar solo at the end of Prisioner part one stands out. As a final comment I need to say there was something extremely moving about the words written in these songs that seemed to give a route to the writers very heart and soul. I don't know his story but I feel there is a depth to be explored.

8/10

Of all the releases this year, this album really stands out. Many know Sean Filkins as the former lead singer of Big Big Train, but now he is ready to make his mark with his debut album War and Peace and Other Stories. This album evokes the prog giants of the past, with a strong sense of neo-prog of the 80s (and I think this genre is more appropriate for this album than crossover prog). The music is complex and enjoyable, though not as original. Filkins runs most of the instruments, while some other special guests give the guys here. For me the real highlights are the first part of the epic Prisoner of Conscience and Epitaph for a Mariner, but all the songs have great potential. 4 stars.

After listening to someone elses copy of this cd I couldn't wait to get hold of my own, and to be honest it's barely left my cd player since. I have been absolutely blown away by these tracks and how they can evoke such emotion and be so inspiring. This year has been tough after loosing a close family friend in Afghanistan shortly followed by the death of my grandmother who I have cared for for the past two years, but the lyrics in Seans music matched with the passion with which he sings has really helped me see the light at the end of the tunnel. Thank you for this great music Sean, and I cant wait to hear more.

More often than not, I may not like an album on the first listen. Very rarely does a CD immediately grab my attention and hold me musically mesmerized. But that was definitely the case with "War and Peace & Other Short Stories."

I do most of my listening while commuting to and from work. I had ordered the "War and Peace" CD after hearing the cut "Learn How to Learn" on AiiRadio. It was soon waiting for me in the mailbox at the foot of our lane when I came home from work late one Friday night. I popped it in the CD player and by the time I pulled into our driveway I was hooked. I stayed in the car, motor running, until I had listened to the entire CD. I've been listening to it at least daily in the weeks since.

Sean Filkin's talents as a versatile musician and composer may only be exceeded by his abilities as a poet. The stories indicated in the title are masterfully crafted: The eccentric looking back at his life regretting the mistakes he made; the soldier and the "ordinary man" each wrestling with his conscience, each for different reasons. But by far, the most touching is "Epitaph for a Mariner," the story of William Pull, Filkin's Great Grandfather, who was called away from the birth of his daughter to rescue the crew of a ship foundering on the Margate Rocks, a tragedy compounded when Pull's boat capsized with the loss of nearly its entire crew.

But a CD is about the music. Sean Filkins has one of those voices that is instantly recognizable. There is none other quite like it, and that is meant as a complement. The supporting musicians, Lee Abraham, John Sammes, Gerald Mulligan, Dave Meros and the rest are masterful. I could find nothing in "War an Peace & Other Short Stories" that reminded me of anyone else. The composition, the music, the lyrics are all uniquely Sean Filkins and I hope there is much more of the same still coming. This CD shot instantly to the top of my personal music charts and has remained there for weeks. It may be cliched, but there really is something here for everyone, Prog fan or not.