THE DISTURBANCE FIELDS

As one of the original "Children of Edison", it was a no-brainer that I would pre-order the new work when the campaign was announced earlier this year. Indeed, I am a massive fan, so I would suppose that there would be an expectation that the collaborator who introduced the band to this site with an accompanying interview for the debut album, In The Last Waking Moments, and a five star review, might be somewhat given to wax lyrical about any new release.

Guilty as charged, m'lud. However, to begin this review, I think it is important to reflect on the words of one of the main protagonists, one Pete Trewavas of Marillion fame. In a video to accompany the pre-launch of this work, Pete made reference to a glowing career, which includes fine collaborations such as Transatlantic and Kino, and stated that the works he had composed and realised with Eric Blackwood in Edison's Children were amongst the finest in his career. He is absolutely spot on, because what we have here is something of wonder, a fine album which demands to be heard as a whole; you know, a throwback to the days when we purchased, listened to, and treasured a work as an entire piece, rather than a mere picking point for a small number of songs on a digital playlist.

If one ignores the "keep us going" patchwork that was Somewhere Between Here And There, The Disturbance Fields is the third original release by this fine ensemble.

There are some major changes to report before considering the work itself. Alongside Blackwood and Trewavas, the act now boasts the full time services of Rick Armstrong (son of Neil) on guitars (this owing to Eric's recent health issues) and Henry Rogers (best known for his work with Touchstone and DeeExpus) on drums. There is also a very welcome drum guest spot by Lisa Wetton, the widow of the late great John, and damned fine she is too.

As a result, this album has the real feel of a band, rather than the previous mighty fine collaboration. The album was produced by the band, and mixed by John Mitchell of Marillion fame. It sounds fantastic from the first waves to the last soundscapes. Lush, wholesome, and a joy to listen to, it contains everything that is wonderful about them, the ability to marry differing moods in the turn of a bar.

Edison's Children describe themselves as playing "hauntingly epic rock", and certainly the first two albums gave themselves much to debate about the meaning inherent within space and horror themes. This one, though, is, if anything, far more haunting and horrific in its theme, because it is entirely based around the power of Mother Earth herself, with the tempest that Pete and Eric suffered whilst recording previous works. Nature can be terrifying in its majesty and power, but also, even in the wildest moments, quite exquisitely beautifully terrifying, and this work takes that and provides these moods to the listener in spades.

The album is a complete suite entitled Washed Away. Fourteen movements, with sub parts therein. An album demanding to be considered as a entire work.

We begin with the calm of The Captain's Ledger, the serenity of the sea, but with the inherent loneliness of the old sea dog, although there is in the lyrics more than a passing reference to the unknown fate of the hero of albums past. There are some staggering passages of orchestration in this album, and they begin to rear up in the second track, providing us with the premonition of nature's fury to come. Thus is the scene set. The sound here, as throughout, is wholly symphonic and lush.

Throughout, the album is awash with sound effects, thundering rhythm, and a narrative which codifies the impact of nature's fury on individual lives and our precious planet, which, be in no doubt, is in peril. Many of us are, literally, in danger of being washed away. Indeed, the menace of swirling guitars, throbbing bass, and crashing drums accompanying the warning inherent within Indigenous exemplify this perfectly.

When Trewavas was introducing this work in the video, he played The Surge, a track which really deserves a huge amount of radio AirPlay, with its ridiculously catchy main theme, strong vocal performance of his, and bursts of gorgeous power. A single in the making? Any fan of Marillion will recognise this, the ability to marry messages, themes, power, and beauty into one seamless, and, yes, commercial, whole. Armstrong's guitar solo is really quite lovely here.

You are lulled into a wee bit of a false sense of security again Into The Dead Calm, a lonely narrative setting out into the sea. The Tempest then builds the scene vocally, with some lilting and screaming guitars. What follows is the promised wrath of nature, her revenge. I have heard much of these passages described as Floydian. Yes, in parts I suppose, but I prefer Edisonian, because this lot are unique. A Random Disturbance brings back the orchestral keys to such a menacing effect, on the face of it a simple loop, but a damned sight more than that when set against all else, especially some incredible guitar work at the denouement, and leads us nicely into the longest, at ten minutes plus, passage, The Confluence, the centrepiece of the album, formed of five mini-suites.

The band have had some heavy moments in previous works, but, by God, this one tops them all. If any band have ever managed to better this description of man sometimes meeting his match, and losing his life, as he confronts the disturbance fields, in such a huge storm of music, then I would like to hear it. When The Beast is revealed in Resurgence, it is, paradoxically, a passage of musical beauty, Armstrong's textures quite lovely set against more lilting keys, pacy rhythm ( Wetton compliments Trewavas wonderfully here), and Eric's haunting voice, before it falls back to that wonderful loop we heard previously, and we enter The Epitaph, where everything that ever was is washed away, closing our theme perfectly and fading with chilling effect.

This is a wonderful piece. This is my album of 2019. What is more, we are promised future albums already written. I cannot wait.

So, to return to the start of this review; yes, I am a fan; yes, my name does appear on the cd credits. You know what? Damned proud of it I am too. Eric and Pete, with their wonderful band, have created something truly special in this album. It might also, hopefully, get you to engage in a serious conversation, and reflect, as it has with I, about the true horror which confronts us in the world in the here and now.

Five stars. About as perfect as modern progressive rock gets. Forget to buy it at your peril. Oh, and Wendy's artwork is worth the entrance price alone -totally lush.