Author: Peter Podbrežnik
Artist: Twelfth Night
Label: Cyclops Records
Released: 1982
Running time: 49:37
Rating: 4.5/5
Twelfth Night were a relatively obscure British neo-prog rock band who, in a fairly short span of time in the early eighties, managed to build up a cult status among prog rock fans, even if they never reached the heights of, say, their long-lived and commercially successful contemporaries like Marillion, IQ, Pallas and Pendragon. Most of the credit for Twelfth Night standing out from comparable bands with a completely distinctive sound and songwriting approach goes to the fantastic singer, songwriter and painter Geoff Mann. He wasn’t the only vocalist in the band’s story, but he was definitely the most charismatic, which made his death from cancer in 1993 all the more tragic. Mann’s singing style was heavily influenced by the legendary Peter Hammill (Van Der Graaf Generator), which meant he could effortlessly switch between high and low registers, while his voice shifted between melodic poetry and outright eruptions of raw rage. His theatrical, poetic style of storytelling suited the epic arrangements and the dark atmosphere of most early Twelfth Night songs perfectly. In the classic era the band was rounded out by the excellent guitarist Andy Revell, the versatile bassist and keyboardist Clive Mitten and drummer Brian Devoil.
«Fact And Fiction» was, if you don’t count cassettes like «Skan», «The First Tape Album», «Early Material» and «Smiling at Grief» (which also came out in 1982), the first official Twelfth Night album. It only got its first official CD release in August 2002. Twelfth Night differed from most of their peers in another important way: they occasionally slipped punk and new wave rhythmic patterns into their compositions, while the punchy guitar phrases were often seasoned with heavy metal, and triad harmonies weren’t missing either. So on «Fact And Fiction» they successfully fused the symphonic prog rock influences of the prog legends led by Genesis, Yes and VDGG, while you can also feel market influences from Queen, The Who and even Thin Lizzy. Mann’s lyrics are fiercely critical of society, socially aware and full of rage at a bleak reality, the dictatorship of capital and the heavy hand of “big brother” hanging over an apathetic modern society.
The opening masterpiece «We Are Sane» is an epic, complex odyssey through the winding paths of every dictator’s blackest fantasies, full of socially sensitive fury at a dystopian reality, with individual sections changing almost as often as Mann’s theatrical singing style. Epic synth arrangements are repeatedly cut through by brutal guitar phrases and “punkoid” rhythms, which, combined with the biting, “metal” guitar passages, makes for a seriously interesting mix. Here Twelfth Night cleverly used some of the best elements of three completely different genres and landed on a very interesting result. Complex vocal harmonies and bizarre effects with human voices often enrich Mann’s mighty vocal performance, while the epic finale of this masterpiece still takes your breath away with its intensity. Revell’s closing solo is also a real feast for the ears. Time and again on the album, this overlooked guitarist proves he could go toe to toe with figures like Steve Rothery (Marillion) and Mike Holmes (IQ).
«Human Being» also ranks among the most recognizable creations in this band’s short-lived story. A bizarre intro that sounds like Mann was recorded singing in the shower soon gives way to grandiose symphonic arrangements. Mann’s versatile vocal is once again the main factor, building a tense, ever-darker atmosphere amid the individual solo variations and wild rhythmic twists. «This City», shot through with waves of Mellotron, successfully carries on the album’s black picture, while Mann’s vocal delivers unforgettable drama. Synth textures and guitar passages are cleverly interwoven and further crank up the melodramatic atmosphere. «World Without End» is a short instrumental built on Mellotron that serves as a kind of overture to the title track. The latter, with its irritated chorus but also a positive, ambient seasoning of melodic synth textures, creates an exceptional contrast in terms of the album’s overall atmosphere. Elements of new wave and symphonic prog were once again fused into an interesting and fun sonic collage.
«The Poet Sniffs a Flower», another instrumental, wins you over with a pastoral intro on acoustic guitar and waves of Mellotron. The result is an almost troubadour-like, romantic mood that even the distinctly electronic synth lines can’t spoil. Soon comes a transition into an epic section, where a real battle rages between fierce guitar and keyboard variations. Twelfth Night were certainly excellent instrumentalists, but with his unforgettable vocal Mann was still the band’s “main star”. «Creepshow», another theatrical classic, is an almost 12-minute epic that takes the listener on a world tour of a “gallery of freaks”. A relatively serene, calm intro flows into a melodramatic section with mighty orchestral curtains, while Mann’s chameleon-like vocal weaves the tensest mood imaginable. Dark and positive ambient shades keep trading places, while the charismatic singer keeps switching between the roles of angel, devil, disillusioned poet and raving neurotic. Keyboardist Mitten wins you over with an exceptionally tasteful solo, while the peak of the composition is the epic finale, where it’s finally time for a mighty chorus and yet another breathtaking guitar improvisation. «Love Song» is an acoustic-guitar-backed, socially engaged ballad that shows Mann’s exceptional vocal talent in a completely different light. It’s hard to believe he only became a singer out of “necessity”, when he temporarily put his painting career on hold to help out old buddies.
«Fact And Fiction» is, historically speaking, the first masterpiece of the British new wave of progressive rock, having come out a year before the cult Marillion debut «Script For a Jester’s Tear» (1983). It’s also the best album in Twelfth Night’s short-lived story. After Mann’s (second) departure they never recovered and, after two considerably more commercially oriented studio albums of fluctuating quality, unceremoniously broke up in 1987. Between 2007 and 2012 there was a brief, gig-focused return to the scene, which served only to stir up nostalgia.
Lineup
Geoff Mann – vocals
Andy Revell – electric and acoustic guitar
Clive Mitten – bass guitar, keyboards, classical guitar
Brian Devoil – drums, percussion
GUEST MUSICIAN:
Jane Mann – backing vocals on “World Without End” and “Fact And Fiction”
Production
Twelfth Night, Andy MacPherson
Tracklist
1. We Are Sane (10:27)
2. Human Being (7:50)
3. This City (4:01)
4. World Without End (1:55)
5. Fact And Fiction (3:59)
6. The Poet Sniffs A Flower (3:51)
7. Creepshow (11:57)
8. Love Song (5:39)
