Big Big Train have a new album – progressive? – yes, concept? – YES. We find some more Big Big Bits on Woodcut.

The next in our series of Big Big Bits takes advantage of an advance of the new album Woodcut. We use the opportunity to give fair warning of what might be a few of the goosebumps moments on the new album.

In Andy Stuart’s The Making And The Meaning book on the inspirations creation of the album, Rikard Sjöblom has already talked about the record, saying: “There are so many points on this album, I think, that are going to be big moments.” Yes Rikard, I guess, there always have been and always will be. so here goes…

Chimaera

Start around 3:00 and the verse sung by Oscar:

“Then inside this empty land / Traces bring me back to earth / Whose footsteps made the paths I follow? / Who has tamed the places I have found?” Possibly the most intensely delivered four lines on the album. Four lines where we envisage singers who sing with a real emotion in their voice – the likes of Neal Morse and for all his faults, Bono is the master. Maybe even some self-reflection if these are Gregory Spawton’s words in reflecting on his own journey as a student of Progressive music and as a prog musician in continuing the paths he’s followed.

And then as if spurred on by his colleague and inspired by by the trumpet part, Alberto ups the passion as he returns with his “What had seemed a great adventure / Now feels like a dream that’s ended /What is real remains uncertain / Where is home? / Where am I meant to be?“

Tremendous stuff – Oskar following up a man of the match keyboard performance on Woodcut with a debut vocal that surely won;t be his last.

ALBION PRESS

A track that covers so much ground from the dark and dramatic opening passage into the cool / funky / jazzy section (and the “this could be a masterpiece” line). Possibly dipping into areas where the Transatlantic quartet might venture.

Head to the final minute that follows up the general vibe of chilled funk and heads into something more melodic where the “If I close my eyes and let go” lyric begins and “I never thought I was one step away” section fades out the track

DEAD POINT

A track that has a fair share of big big bits from the musical theatre drama of the opening lines, especially the melodramatic “this can not be real, a figment of my mind” that’s very Phantom Of The Opera. Listen out though around the halfway point where a bass/drum line is joined by a filthy guitar line and then a swirling synth solo part from Oskar’s keyboard armoury as the entourage join the party. Then around 4:05 the guitar dons a funky hat and the uplift of the “The walls I have built” line. Rikard certainly has plenty of guitar solo moments to admire on the album as he dons the ‘lead guitarist’ hat on Woodcut, but his contribution here is a personal favourite that’s not necessarily in the mould of Prog Rock guitar solos that you;d find on Light Without Heat for example.

LAST STAND

A track that says “big ending coming up” within the first few moments as it emerges from Counting Stars.Very much in the way that Neal Morse often leads, there’s that name again, Transatlantic (and indeed in his own solo and NMB work) into the finale where you know the fanfares and crescendos are coming thick and fast.

Our choice in the last track on Woodcut suggest to start around 1:15, where the drum roll and bubbling keyboard line leads into the “Fires burn and fade away” – total chills and goosebumps in the melody and sentiment. It’s the equivalent of the “the moon is rising” moment on Beneath The Masts from the last album. In anticipation of the ovation that’s sure to follow if/when they play the full piece live, it might be at this moment when Alberto is signalling for the audience to their feet.

Kitchen sink time follows with the next verse that begins “Time to speak of love and hope” the extra voices, a nice trumpet line from Bury’s very own Paul Mitchell and PLEASE PLEASE Gregory, bring on the bass pedals for this part!!

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