BIG BIG TRAIN

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.

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.

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

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.

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

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.

Between 1923 and 1947, the "Big Four" was the name 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 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, sadly, 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 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 tranquil resting place, the band elects, instead, to introduce a few minutes of barbaric incongruity that totally destroys the feel of the piece, and ruins the entire effect. Why? What is the point of this? BBT has never been guilty of this type of aural outrage before; and we've already had enough similarly cacophonous tripe from other bands to last a lifetime - think Glass Hammer, (worst of) Spock's Beard, Unitopia, 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 destination, our relationship might inevitably end up hitting the proverbial buffers. I very much hope not.

Four stars.

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.

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.

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.