Big Big Train interview
March 2004 - Amarok website
1. For all the french prog rock fans who don't know you, could you talk about Big Big Train?
Sure. We're a five piece band from England and we've been around since the early 1990's. We released a couple of CD's through IQ's label, GEP, and then, struggling with maintaining a settled line-up, we pretty much gave up the ghost for a while. However, we kept writing songs and in 2002 released Bard. That album picked up good reviews and we have just finished working on our new CD, Gathering Speed which is doing really well for us – we've just recently been offered distribution deals in France and Germany.
2.The new album ("Gathering Speed") tells the history of a pilot at the time of the second world war. Can you say a little more?
The album is about the death of a fighter pilot who is shot down during a combat patrol, and about the impact of his death on his loved ones. The wartime setting allowed us to explore a tragic story against a dramatic backdrop.
3.Why have you taken the option of the "concept" album?
All of our previous albums have explored linked themes but this is the first time we've released a concept album. The concept started with a couple of songs about the fighter pilot's experiences, but we thought the story was a strong one and so we decided to explore his story over the length of a whole album. I'd like to continue the story, actually, as it was interesting to get inside this story and I don't feel ready to leave it behind yet.
4. Which were your references during the preparation of GS?
Musically, we had a very clear idea about what we were trying to achieve. We wanted to combine a classic progressive sound (12-strings, mellotrons, organs etc.) with contemporary influences. So, on the one hand we were being influenced by early Genesis and Pink Floyd and on the other, newer bands such as Oceansize, Sigur Ros and Radiohead.
5. The progressive rock'n'roll is not especially appreciated by the musical press. How are you perceived in England?
At the moment, we have a pretty low profile over here. We get some coverage in the mainstream music press such as Classic Rock but otherwise it's the usual problem. However, we are not prepared to compromise to broaden our appeal to the music press.
6. What would you reply when it is said that the sound of Big Big Train makes think of IQ or Jadis?
Well, our sound engineer and co-producer is Rob Aubrey who works with both of those bands as well as with Transatlantic and Spock's Beard, so I can see why there may be a comparison. I have to say that I think we sound less and less like IQ and Jadis as the years go by. Jadis make quite accessible music with more of an AOR feel; we are more minor key. IQ have their own well developed sound.
7. Technically the CD is very good. How have you developed your musical formation ?
We've been playing long enough to have gained an understanding of how to put music together. I wouldn't say that we are a showy band, however. We enjoy complexity but not for its own sake – it has to add something to the composition.
8. Of what are you proudest on this disc?
From a personal point of view as a player I like the 12-string bits and the guitar solo on the track Powder Monkey. As a composer, I think we've been able to write some interesting music with a lot happening. And, from the feedback we've been getting, people seem to respond to the album on an emotional level, which is very pleasing.
9. Would you say that the style of Big Big Train has evolved?
Absolutely. When we started, we had quite a poppy feel to our music with a heavy It Bites influence. Over the years we've evolved into something quite different and our music is now more intense and dark. We're not optimists setting out on a career in music anymore. We've all lived a bit and the experiences that we are carrying are coming out in the music.
10. What has been the work of each member of BBT on this album?
Generally speaking, I write the early versions of the songs and then the others come in to put their mark on things. Steve Hughes is a great drummer with a jazz background who gives things a real swing and groove. Andy Poole is influenced by Mike Rutherford – he likes to add melody and rhythm with his bass playing. Andy is also the recording engineer, along with Rob Aubrey. Sean Filkins is our new singer. He got involved relatively late in the recording of the album but contributed enormously to the final sound with his ability for writing the big vocal passages. Ian Cooper, who, along with me plays the keyboard parts, adds musical textures and some of the faster solos. Finally, Laura Murch added some lovely additional vocal parts.
11. Will you make a tour for the promotion of this new album?
No, the next couple of years are mapped out for more recording; first an EP and then a new album. We may get out on the road after that.
12. Ritual question of AmarokProg: If you must take along five "Prog Rock" and five "no-prog" albums on a deserted island?
Ah – a tricky one! Ok, for the prog albums, Selling England by the Pound, the Lamb Lies Down On Broadway and Going for the One would have to be in there. I'd also take Pawn Hearts by Van Der Graaf Generator and Effloresce by Oceansize. For the non-prog stuff, it would be Jordan: the Comeback by Prefab Sprout, Sky Meadows by the Pearlfishers, Son of Evil Reindeer by the Reindeer Section, Nonsuch by 'TC and Rockin' the Suburbs by Ben Folds. But I'd probably change my mind tomorrow!
13. What would you say to convinced us to buy the CD?
I'm not a very good salesmen actually, so this is an even harder question for me. Good songs, interesting music, a concept album influenced by the classic progressive sounds without being merely an exercise in nostalgia. Howabout that?
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