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EDISON'S CHILDREN

Neo-Prog • Multi-National


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Edison's Children picture
Edison's Children biography
Duo from Aylesbury, UK and Sugar Loaf, New York, US formed in 2006

Edison's Children formed in 2006 during the Marillion Los Trios Marillos tour. Prior to soundcheck at the Birchmere in Alexandria Virginia, Marillion's sound technicians Colin Price and Roderick Brunton, were having several issues with one of Steven Rothery's guitars. They asked Eric Blackwood if he could go on stage and play with Rothery's guitar for awhile, while they tweak the problem. While Eric was playing one of his signature songs Stranger In A Foreign Land, Pete Trewavas came out from backstage to see Eric performing with Rothery's guitar on stage. He jumped up and joined Eric for the next 10 minutes, playing along on Steve Hogarth's keyboard.
Afterwards, Pete Trewavas mentioned to Eric that they should get together and do a project of some kind. Eric thought it would be a great idea, but was very skeptical whether this project would ever come to fruition, thinking it was meant in more of a hey man, let's jam some time sort of thing.
When Marillion released the album Somewhere Else, Pete Trewavas and Steve Rothery came to New York City to perform at the record release/listening party at Kenny's Castaway's. After meeting with Eric Blackwood at the show, Pete Trewavas and Steve Rothery met the following morning with Eric Blackwood on the movie set of Bourne Ultimatum where Eric was working as one of the Special FX technicians for the Matt Damon film.
While on the Bourne set, Pete Trewavas again broached the subject of doing a project together. Eric re-iterated that it would be a great idea and as soon as Pete has some time, they should start writing together. While the plans were starting to be laid out for the project, Eric remained skeptical that this project would ever come to fruition.
After the 2009 Marillion Convention in Montreal Quebec, Pete Trewavas went to Nashville Tennessee to record the new Whirlwind album with Transatlantic. On the way back to England through New York City, Pete missed his flight and was stranded in Newark New Jersey for 24 hours. Eric Blackwood and his wife Wendy Farrell-Pastore, met up with Pete Trewavas and took him down to the Atlantic Highlands and Sandy Hook. There, Pete again mentioned that they should set plans to do a project together and at this time. Now the third time that Pete had broached Eric about the project, Eric told Pete that Now... he was going to hold him to it.
Plans were made to do writing and rec...
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The Disturbance FieldsThe Disturbance Fields
CD Baby 2019
$13.81
$16.21 (used)
In the Last Waking Moments...In the Last Waking Moments...
CD Baby 2012
$9.95
$7.49 (used)
Final Breath Before NovemberFinal Breath Before November
CD Baby 2014
$11.87
$21.59 (used)
Somewhere Between Here & ThereSomewhere Between Here & There
CD Baby 2015
$11.87
$11.08 (used)

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EDISON'S CHILDREN discography


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EDISON'S CHILDREN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.91 | 256 ratings
In The Last Waking Moments...
2011
3.96 | 226 ratings
The Final Breath Before November
2013
3.88 | 37 ratings
Somewhere Between Here And There...
2015
3.83 | 45 ratings
The Disturbance Fields
2019

EDISON'S CHILDREN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

EDISON'S CHILDREN Videos (DVD, Blu-ray, VHS etc)

EDISON'S CHILDREN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

EDISON'S CHILDREN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.09 | 11 ratings
A Million Miles Away (I Wish I Had A Time Machine)
2012
4.44 | 9 ratings
In The Last Waking Moments... EP Single
2013

EDISON'S CHILDREN Reviews


Showing last 10 reviews only
 The Disturbance Fields by EDISON'S CHILDREN album cover Studio Album, 2019
3.83 | 45 ratings

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The Disturbance Fields
Edison's Children Neo-Prog

Review by TCat
Collaborator Eclectic Team

4 stars Edison's Children is a well-known Neo-prog band formed by the duo of Pete Trewavas (from Marillion and Transatlantic) and Eric Blackwood (Sunblister and Blackwood & Foti). These two multi-instrumentalists have been the main core of the band since it's beginning. They have always recruited other individuals as needed for each album they have released.

"The Disturbance Fields" was released in July of 2019 and the album features one 68 minute epic song called "Washed Away" divided up into 14 tracks, each individually titled. The line up consists of founders Trewavas on bass, lead and rhythm guitars, lead vocals and v-flute; and Blackwood on lead and rhythm guitars, bass, lead vocals, v-flute, and orchestration. Three other artists were recruited to help out on this album. Rick Armstrong, the son of Neil Armstrong (yes, the astronaut), helps with lead and rhtyrhm guitars and bass on some of the tracks. Henry Rogers (Touchstone and DeeExpus) plays drums on most of the tracks. Lisa Wetton, the wife of the late John Wetton, plays drums on 3 of the tracks. The album deals with the wrath of nature and how it reacts to the way humans mistreat the oceans and rainforests and the overdevelopment of certain areas of the earth. It doesn't deal with any single type of natural disaster, but all of them especially in light of all of the occurrences of hurricanes, earthquakes and the likes in the past few years.

The music starts simple and pensive with "Captain's Ledger" which consists mostly of acoustic guitars and vocals. "A Random Occurrence" builds upon this by adding drums, and synth to the acoustic sound, but as things intensify, the rhythm remains the same. There is an instrumental build up and then vocals return, more passionate and dynamic this time. Things continue to build as the track continues with some nice synth passage, the rhythm remains in a 3 / 4 meter, a flowing feeling that imitates wave movement. Things go quite soft at the last part of the track, with pensive keys. "Asphyxiation" turns suddenly dark with some cool effects that combine percussion and guitar all chopped up. This along with the bass support the vocals that come in, both sung and whispered and again intensity build from this, but with much more darkness involved. The rhythm is more driven now, but the same meter as before persists, and things seem more tumultuous, like the waves on a choppy, wind-blown ocean. Heavy guitars take over at the last part of this section. A short section called "Captain's Refrain" ties up these first tracks.

"The Approaching Front" changes the meter to a more standard 4 / 4 rhythm and the track feels a bit more straitforward with a reserved heaviness and an excellent and pronounced bass line. The vocals follow a melody which is somewhat repetitive, possibly allowing for a single to be pulled off of the album. It is a good song with a nice build that ends up stirring up your heart as it reaches a nice instrumental climax. "Indigenous" calms things down again and spoken words from some processed, evil sounding vocals begin. The lyrics suggest it is spoken by a tribal representative. The music is quite solid in this track, again driving things to a nice, emotional climax. There is a lot of anger in this track, and rightfully so.

"The Surge" begins with a great hook and a driving beat creating a catchy rock song. The edge it taken off of it a bit when the smooth sound of synths come in, but comes back a little while later before the vocals start again. The same pattern repeats, but the music is instantly accessible and, right from the first listen, is infectious. After the third iteration, at the half way point, the rest of the track retains a smoother feel featuring some emotional guitar work to finish off this 8+ minute track. "A Cold Gray Morning" goes for a smooth jazz fusion feel and a laid back groove mostly established by strummed guitars. Added synths add an expansive feel on the 2nd verse. The accessibility of the music does not lessen the excellent quality of the sound and the musicianship on the album. "Into the Dead Calm" begins with simple acoustic guitar and vocals with a slow melody. They try for a feeling of vulnerability here, however, it sounds a little forced and intentional to be authentic. Fortunately, it's the only weak track so far. Unfortunately, however, this 5 minute track doesn't change through its full duration.

"The Tempest" brings back in the feeling of unease, and it also speeds up the tempo again, but leaves you with a feeling that there is impending trouble on the horizon. The central idea of the album is all expressed in the lyrics of this track. The track is vocally heavy, but there are still plenty of short instrumental interludes separating the stanzas and most of that is done by guitar. "A Random Disturbance" continues to move in the darker direction with a repeating synth riff and a feeling of unease being reflected in the timbre of the vocal. The guitar comes in again stirring things up with another great solo.

"The Confluence" is the longest subsection of the album at over 10 minutes. This subsection has its own subsections as it moves through various moods. The lyrics in this track follow a fisherman who is down on his luck. The protagonist waits for a lucky break that never happens and sails out to sea to try his luck at getting a catch of his lifetime only lose his life at sea. The track again tries for the vulnerability at the beginning, but this track features a lot more dynamics and utilizes all of their instrumentation, so moves through some more variant passages. The ending moral is a timely one: "The sea gives up what she will, so go and catch your fill, but be prepared to her debt; sometimes with her strife?.sometimes with your life". After this declaration, there is a great synth solo and later guitar solo against a heavy and driving background.

"Resurgence" is the only instrumental on the album, but even then there are some vocals in there. An anthem-style guitar melody gets improvised treatment as it plays against a moderate beat. Some of the theme from the album return during this track, tying it all together. The final track is "Epitaph" and it ends the album pensively with a message that doesn't leave much hope in the end, the words of a dying man.

This is an excellent album and is done quite well, even if it doesn't have a lot of complex melodies or passages. However, like I said previously, just because it is not complex doesn't mean that it isn't any good. Quite the contrary, its accessibility is a strong trait, but there is still enough here to make it all progressive enough, especially in the Neo-prog style. I admit that I consider the first half of the album the strongest as things tend to sag a bit on the 2nd half, the main problem being the attempts at what seems to be forced vulnerability. But this is easy to get around especially with the subject matter, and the strong first half of the album. This is definitely one of the stronger releases this month, but with the weaker last half, it doesn't quite make it to masterpiece status. But it is a strong 4 star album nevertheless.

 Somewhere Between Here And There... by EDISON'S CHILDREN album cover Studio Album, 2015
3.88 | 37 ratings

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Somewhere Between Here And There...
Edison's Children Neo-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars English band EDISON'S CHILDREN is the creative vehicle of composer and musician Pete Trewavas, with Eric Blackwood as the only other permanent member. This project has been in development since 2006, and so far three studio albums have surfaced from this collaboration. "Somewhere Between Here and There" is the most recent of these, and was released in 2015.

"Somewhere Between Here and There" comes across as a curious third album from this band. One with just a bit more new material than what one traditionally would release as an EP, expanded to a very full album length by including alternate mixes of older and, in my view, better quality material. An album first and foremost of interest to existing fans as I regard it, although a case may be had for recommending this CD to those interested but still not familiar with the band. Besides this, those who tend to connect with music described as Floydian should find this CD to be compelling, in general.

 Somewhere Between Here And There... by EDISON'S CHILDREN album cover Studio Album, 2015
3.88 | 37 ratings

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Somewhere Between Here And There...
Edison's Children Neo-Prog

Review by The Shrubbery

5 stars The first album featuring newest member "Rick Armstrong" ... son of Neil Armstrong (1st man on the moon). Though this isn't the usual concept album and more of a bridge album... SBHAT has some truly great moments. The original mixes by Jakko (lead singer of King Crimson) really stand out. Also Iluvatar's drummer Chris Mack makes his first appearance with the band. Hoping that Rick is going to bring even more of a Sci-Fi theme to this famed "Haunting Prog" band owned by Classic Rock PROG!'s winner for #1 bassist... Pete Trewavas. Growing Down in Brooklyn is one of the songs that people should really pay attention to here. Great vamp and simple lead which gives the song a very cool melody that sticks in your head (in a good way).
 In The Last Waking Moments... by EDISON'S CHILDREN album cover Studio Album, 2011
3.91 | 256 ratings

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In The Last Waking Moments...
Edison's Children Neo-Prog

Review by jmeadow

4 stars The first Edison's Children album In The Last Waking Moments ranges from radio-friendly AOR to more experimental, extended proggy tracks and even some post-rock moments. Both musically and lyrically the album is emotionally charged - songs of regret, reflection and trepidation. The album is infused with a gentle melancholy. As you would expect, the musicianship is high quality - these guys know how to construct a rock song, but the album never feels forced or contrived. The stand-out track for me is the radio hit A Million Miles Away ("the sky was so brilliant blue/And I was lost in the sunshine of you"), with the title track and The Awakening being other highlights. Highly recommended.
 The Final Breath Before November by EDISON'S CHILDREN album cover Studio Album, 2013
3.96 | 226 ratings

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The Final Breath Before November
Edison's Children Neo-Prog

Review by jmeadow

3 stars The second Edison's Children album is an extended meditation on/exploration of a musical theme from their first album. Musically the theme takes off from the stand-out track from that first album, A Million Miles Away, taking the central musical motif and extending and reshaping it in different ways. Lyrically, the theme is the haunting presence of the past in our lives, the personal past of loves lost and the spectral past of other lives long gone, but somehow both still present at the edges of our consciousness. Great music for the small hours of the night, though in the bright light of day I do wonder if the ideas herein can really sustain 80 minutes of music? On that basis, I would say this is a good album, though not essential.
 The Final Breath Before November by EDISON'S CHILDREN album cover Studio Album, 2013
3.96 | 226 ratings

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The Final Breath Before November
Edison's Children Neo-Prog

Review by Angelo
Special Collaborator Honorary Collaborator / Retired Admin

4 stars In a dark, North American forest, infested with British bass players, live a people of creatures (could we call that a creatle?) called the Morphlux. Their leaders, Pete Trewavas and Eric Blackwood lead them into haunting you - preferably at night, and even more preferably in a very loud, melodic and muscially layered fashion. Once they get to you, you will never, ever be the same.....

What Morphlux are exactly, and why they are so scary is unclear to me, even after hearing the album The Final Breath Before November of Edison's Children a million times. What I do know, however, is that their leaders, or at least inventors, mentioned above have created a great musical spell around them, over a period of several years. Pete Trewavas, mainly known as bass player for Marillion and Transatlantic, and guitarist Eric Blackwood both are actually multi-instrumentalists. On this album, they take care of all guitars, keyboards, synths, v-oud and something called paraglider guitar.... on this album they are accompanied by Touchstone and DeeExpus drummer Henry Rogers, and on some tracks backing vocals (haunting backing vocals even!) are provided by Wendy Farrell- Pastore, who is also responsible for all the photography on the artwork for both albums of the band..

The albums 15 tracks actually are only three tracks, one of which is a 67-minute epic - Silhouette. The opening track, Final Breath, starts slowly and builds up to the point where keyboard and bass form a pulsing foundation for a flute, until the vocals come in. On this track, the voice of Eric Blackwood reminds me of David Bowie, one of the many vocal similaraties in his reach. On the second track Light Years, that changes, as Pete takes with a vocal sound that reminds me of some tracks on Fish' second album. This track is a somehow catchy tune, based around a repeating pattern, but switches into a more haunting piece at the end (a separate track called Light Years I. the fading). The lyrics of this one introduce Silhouette, the long epic that follows, and consists of 13 tracks on the CD. This epic contains too many different things to go past all the tracks, but after a few listens it becomes clear that at least musically, they form a consistent piece. Some themes return (The Morphlux, Second coming of the Morphlux, The Clock Strikes November) or simply flow over into each other (The Morphlux, I am Haunted). Also, all parts are composed and orchestrated in a similar fashion, making it blend together in a way that is sometimes symphonic, but often also psychedelic in a way that reminds of Pink Floyd, or Eloy. Key elements: the always melodic, but supporting bass of Pete Trewavas, melodic guitar solos by Eric Blackwood, a lot of synths and orchestration, and vocals that range in sound from David Bowie to Fish, but also Wayne Hussey (lead singer of The Mission, for example Eric's part of Where where You).

It's hard for me to describe everything on this album in detail, there's too much to hear to do that. That makes the album not easy to access, but for those into symphonic or psychedelic music, with a soft spot for the backgrounds of the two main members of Edison's Children, this is an adventure well recommended.

 The Final Breath Before November by EDISON'S CHILDREN album cover Studio Album, 2013
3.96 | 226 ratings

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The Final Breath Before November
Edison's Children Neo-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars I thoroughly enjoyed the debut of this band so it was an easy choice to pick up their sophomore effort from late in 2013. I still feel "In The Last Waking Moments..." is their best, I prefer that heavier sound I suppose. This recording is very enjoyable though and I can't give this anything less than 4 stars. It's that melancholic vibe that permeates throughout this album that is the main draw for yours truly. There does seem to be a connection between the two recording, in fact a line from their debut from the song "Dusk" states "When will this November end" plus there are other lyrical connections. Yeah i'm probably way off(hehe).

"Final Breath" opens with atmosphere as picked guitar and melancholic synths cry out. A beat after 1 1/2 minutes as it picks up in tempo and becomes fuller. The vocals before 3 minutes are almost spoken and seem to echo. "Light Years" opens with static like something you'd hear when playing vinyl. Strummed guitar and more join in as it builds, vocals follow. This is a catchy upbeat track compared to the rest of the record. This does seem out of place until it changes completely after 6 minutes to a beautiful, melancholic vocal-led piece. Gorgeous! My favourite section right there.

Next we get the tour-de-force called "Silhoutte" and it's ridiculous length at over 67 minutes. A melancholic start with fragile vocals early on and I like the beat and atmosphere 2 minutes in. Such a feel-good section with a hint of sadness and reflection. Vocals stop as it winds down before 10 minutes then it changes as we get an electronic beat, drums and atmosphere. Spoken words 11 minutes in before the vocals arrive once again. Nice soaring guitar in the Gilmour style here, in fact the soundscape is very PINK FLOYD-like after 13 minutes. It eventually begins to wind down until we get a change after 22 minutes of intricate guitar only. Fragile vocals join in along with strings. It turns fuller before 25 1/2 minutes and guitar comes to the fore a minute later, nice prominant bass too.

A change 30 minutes in as we get vocals and intricate guitar only. It sounds like flute before 32 minutes then it turns much fuller.An interesting sound after 34 minutes that reminds me of those orchestral sounding keys by SATELLITE. It turns heavier 36 minutes in. Nice. A change after 38 minutes as that SATELLITE sound returns along with vocals. A beautiful section arrives after 42 minutes then we get another change after 45 minutes as dual vocals and acoustic guitar take over. Another change after 48 minutes as we get a beautiful and emotional section. Very atmospheric with vocals. Pleasant guitar after 51 minutes when the vocals stop, but the vocals will come and go. This drifting section continues until becoming more powerful 57 minutes in. A complete change after 65 1/2 minutes as dual vocals and acoustic guitar return to end the song and album.

Another winner from these two and while I didn't find it as engaging as the debut I can't help but be taken with their melancholic and atmospheric style.

 The Final Breath Before November by EDISON'S CHILDREN album cover Studio Album, 2013
3.96 | 226 ratings

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The Final Breath Before November
Edison's Children Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A late release in 2013, it's taken me this long to get to listen to this album and now that I know it intimately I write my review and prepare to adjust all of my year-end rankings to make room for this masterpiece of prog ear candy.

1. "Final Breath" (4:04) opens with some ominous incidental noises and sustained notes before an old player piano and synth exchange supporting melody lines. Pulsing synth bass and other instruments slowly gather around until drums declare the song to be in the style of Pink Floyd, not a cinematic soundtrack. (8/10)

2. "Light Years" (7:33) opens with a strumming 12-string not unlike George Harrison's infamous "My Sweet Lord" before a somewhat cheesy upper register electric guitar melody line joins in--introducing and, later, mirroring the vocal melody line. Drawn out over minutes it becomes a little tedious. The second solo guitar line added at 3:25 is no better. The vocal could very well come from Fish--especially his more rock oriented solo stuff-even his album of the very same year, A Feast of Consequences. Nothing very special here, though the unusual 'second song' that begins at the 6:20 mark is a bit more original and a notch more interesting. (7/10)

3. "Silhouette" is an epic masterpiece. Thirteen to nineteen song threads woven together into one long story have an atmospheric quality that captivates the listener even through the heavier sections. The opening two sections ("i. Silence Can Be Deafening, Part 1" [6:47] and it's companion, "ii. Welcome to Your Nightmare" [3:16]) are so hypnotic, so comfortingly, beautifully engaging, as to lay the groundwork for the totality of the 67 minutes.

"iii. Where Were You?" (12:01) has such awesome, pleading and floating vocals over Floydian rhythm tracks with Dave Gilmour/Mirek Gil-like lead guitar play. Could anyone sing "It's in my head" with any more feeling and vulnerable power than Pete Trewavas? Awesome lead guitar play in "iv. The Loging [7:48].

"v. The Morphlux" [3:12] is interesting for it's departure from the flow and synth domination of the previous 30-minutes. Oud, acoustic guitar and hand drums lay down the base for the theatrical whispering Genesis-like Gabriel vocal. Once the rock instruments bash their way in the song rollicks along with a relentlessness that is just awesome! All-out vocals and Hackett- like guitar leads carry this song to prog heaven!

The sudden and complete switching of gears at the transition into "vi. I Am Haunted" [2:51] is interesting if a bit off-setting. Then, just as suddenly, we enter into a reprise of the opening themes with "vii. What Do You Want?" [2:04] only this one amped up with two channels of prig-heavenly lead guitars, which, then transitions rather (too) quickly into the atmospheric four-part "viii. The Seventh Sign [7:01], a very Pink Floyd Wall-era sounding song, complete with a Gilmour-rivaling solo. Suddenly we find ourselves back in the Morphlux theme with the disturbing effect of multiple vocals vying for our attention ("ix. The Second Coming of The Morphlux" [3:08]) before fading/floating us back into the awesomeness of the soundscape of Silence Can Be Deafening (Part 2) [5:13]--though a decidedly more echo-y and atmospheric version. This, however, allows the drum play to stand out much more--and awesome is that drum play as it builds and plays with Pete Trewavas' excellently layered synthesizer extravaganza and Eric's beautiful Mirek Gil-like guitar leads. By the time we flow into the exquisite nine-minute instrumental "Music for The End Credits of an Existence" we are wondering how much longer these guys can maintain this high level of inspiration, creativity, and emotional output. Incredible! The final 100 seconds of "The Clock Strikes November" teases us with a little ditty from The Morphlux themes in order to try to bring some closure to this amazing sonic journey. Perfect!

I cannot imagine someone not enjoying this song! Even my wife keeps chiming in to ask who's singing, who is this playing, what are they singing so beautifully about? I have even found myself pushing replay while working with this song in the background--and been curious enough to follow the lyrics through an entire listening. Is it a ghost story or a story about a lost part of life, an older identity, a past life, a look back into the past at an older version of one's self or another? It's no matter. It's gorgeous, composed, performed and sung with heartfelt emotion and excellent, excellent engineering and mixing. Kudos, Pete, Eric and helpers. Thank you for keeping beautiful progressive rock alive--ney, giving it a great booster shot of fresh life! I am ever so grateful!!

 The Final Breath Before November by EDISON'S CHILDREN album cover Studio Album, 2013
3.96 | 226 ratings

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The Final Breath Before November
Edison's Children Neo-Prog

Review by kev rowland
Special Collaborator Crossover Team

3 stars When I was playing this for the first time I could already imagine what had been written about it, and when I checked I found that I wasn't disappointed. Yes, many seem to be saying that this is one of the finest albums that one is likely to find anywhere on the planet, so it looks like I am in the minority again. This isn't a bad album, but neither is it a particularly good one. Unlike the debut, which featured the rest of Marillion as guests, here we are down to the core duo of Pete Trewavas (Marillion, Transatlantic) on bass, vocals, guitar, synth and programming and Eric Blackwood on vocals, guitar, synth and bass with Henry Rogers (DeeExpus, Touchstone) on drums and Wendy Farrell-Pastore on backing vocals.

I was supplied with this as a download to review, so I am not sure if this is the case with the CD, but there are only three songs, with 'Silhouette' coming in at 67 minutes long, and it isn't possible to play just parts of this as it hasn't been broken up (although the track listing does denote 12 sections). Now, I'm a proghead, and have no issue with long songs per se, but I don't believe that this is a long song. To me this in a number of songs that have been put together in such a way that they can have an 'epic', but there isn't enough inter-relation or repetition of refrains or key musical hooks to make one think that this is indeed one piece of music. And what's worse, is that for the most part it is just plain boring.

There are some truly magnificent sections on the album as a whole, which had me doubting my own comments, but there are others where I just wanted to turn the whole thing off and play something that was far more interesting. I kept thinking back to The Flower Kings, who have produced some albums where they really need an outside set of ears to cull the material and provide some judicious editing, and the same is very much the case here. Looking at the chart for 2013 on PA, before I post this, I can see that this is ranked at #13 so there are a great deal of people who think that this is incredible. I'm just not one of them.

 The Final Breath Before November by EDISON'S CHILDREN album cover Studio Album, 2013
3.96 | 226 ratings

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The Final Breath Before November
Edison's Children Neo-Prog

Review by MJAben

4 stars A stronger album than I anticipated, which is always a nice surprise. The album starts very strong with Final Breath and Light Years. The listener is immediately drawn to the fantastic use of vocals, creativity and strong songwriting skills. In truth, the only real complaint I have with the album comes with the 60+ minute Sillhouette. It's not that it's bad, parts are fantastic in fact. The Longing and The Morphlux for example. And there is certainly enough diversity in the song to keep the listener engaged throughout.

Despite the strong and diverse music however, this epic feels loosely put together. The parts in and of themselves can be wonderful (though I was never nuts about the far too long Where Were You (which would be fine if it were half the length) but it never really feels like one cohesive song. A strong example of this is What Did You Want? (which I love), which feels just a smidge out of place. This is only proven when the song harshly cuts out at the end before changing styles completely with The Seventh Sign.

I'm picking the album apart for what may seem like minor details but continuity and flow are extremely important in long epics such as this.

Nevertheless, the music is very well played and interesting, though this is not a perfect album by any means.

Thanks to windhawk for the artist addition. and to Quinino for the last updates

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