Founded twenty-five years ago in England, the current incarnation of Big Big Train (which includes ex-Spock’s Beard drummer Nick D’Virgilo, ex-XTC guitarist David Gregory, and Beardfish’s Rikard Sjöblom) is one of the few modern progressive rock bands that exists in its own realm. By that, I mean that the group is unlike just about any of its peers, as its rich, pastoral tones and lusciously warm yet intricate arrangements evoke Camel, Caravan, and Genesis more than they do Dream Theater, Yes, Pink Floyd, or King Crimson. Furthermore, while some inspirations are evident (how could they not be?), the band manages to circumvent emulation exceptionally well, achieving its own characteristic style in the process.
Of course, the main reason why Big Big Train is so special is because of its astounding songwriting and enveloping, majestic compositions. For instance, lead singer David Longdon (whose first record with BBT, 2009’s The Underfall Yard, marked a robust sonic evolution) has one of the most powerful, distinctive, and rich voices the genre has ever had; likewise, the complementary constructions and melodies are equally remarkable, with dense woodwinds, tasteful piano, and multilayered guitar patterns being just some of their many components. Together, these elements fused into the extraordinary, masterful amalgam that made their last LP, English Electric: Full Power, one of the best progressive rock albums of all time.
Unsurprisingly, its EP follow-up, Wassail, contains all of the aforementioned magic, so it definitely earns its place in the catalog. Consisting of three new tracks and a live version of an older one, the disc is a short but sweet appetizer to tide over fans while they wait for the next proper album. To be honest, none of its material equals the best BBT has yet offered, but that’s more of a testament to how incredible their prior output is than a fault with these pieces. In other words, the songs on Wassail would rank as a new benchmark for almost any other group.
The title track starts things off pleasantly, as electric guitar, bass, percussion, and flutes decorate a mandolin arpeggio. Soon Longdon chimes in with a steadfast verse (coupled with falsetto harmonies, as is a BBT trademark). A brief violin solo precedes the chorus, during which multiple voices cheer “Wassail” alongside keyboard accompaniment. It’s wondrously boisterous and full-bodied. The arrangement becomes a bit sparser for the second verse, and as is common, a total shift occurs halfway through, with a more morose and dramatic bridge. After some instrumental frenzy, the track returns to the chorus as various overdubs heighten the excitement and vibrancy. All in all, it’s a great start that further demonstrates BBT’s penchant for historic storytelling and complex yet lively and welcoming musicianship.
“Lost Rivers of London” is a bit more upbeat and catchy at first, with more harmonies and arpeggios surrounding fixed syncopation and delicate glockenspiel notes. A rhythmic shift breaks as Longdon laments devastation in the chorus; it’s magnificent. A quirky keyboard solo steals the spotlight a few minutes in, after which a tribal beat and another flute melody leads another dynamic shift. It’s one of the most charming and arresting moments on the EP, and it blends into the rest of the music perfectly. There’s also some dizzying time signature natures near the end, which are matched with mournful strings and guitar plucks. It’s a quintessential Big Big Train combination.
The last new piece, “Mudlarks,” juxtaposes just about every instrument in the BBT arsenal at the beginning, resulting in an ever-changing fury of melodic splendor, countryside instrumentation, and gripping drumming, recalling certain moments of the “Underfall Yard” suite. Actually, the first half of the piece maintains this trajectory; it’s only halfway through that a piano chord progression introduces a more focused path, with several guitar and keyboard solos, as well as more angelic interlocking harmonies. It’s a tranquil and celebratory piece (in that multiple instruments get a shot at the spotlight as its foundation progresses) that sort of plays like a heavenly end credits sequence.
Wassail ends with a live version of “Master James of St. George” that was recorded at Real World Studios last August. It sounds very close to the version on The Underfall Yard (naturally, there are some vocal differences and a more confined palette, but it’s still quite faithful). It’s also a bit heavier and rougher overall, so while it doesn’t surpass the original take, it’s nonetheless an interesting inclusion that shows how well Big Big Train can recreate its multifaceted gems.