Author: Peter Podbrežnik
Artist: It Bites
Label: Inside Out Records
Release: 2012
Rating: 4.5/5
»Map of the Past« is the first concept album in the history of the legendary prog pop rock fusionists It Bites, who are enjoying a real renaissance after the lineup overhaul in 2006 and the excellent album »The Tall Ships« (2008). Plenty of longtime fans never expected the band to pull off the transition into a new creative era so successfully, both on the previous record and on stage. Replacing the charismatic original guitarist/vocalist Francis Dunnery was no walk in the park, yet he’s been more than successfully filled in for by the equally, if not even more, gifted John Mitchell of the neo prog rock band Arena (the eternal workaholic is also known for working with a whole slew of different bands and projects), while Dick Nolan on bass was convincingly replaced by Lee Pomeroy.
On »Map of the Past« the songwriting influence of John Mitchell, who has by now firmly established himself as the band’s frontman and creative leader, is felt even more strongly. Mitchell proves once again that he’s a multi-instrumentalist: besides singing, playing guitar and writing most of the arrangements and lyrics, he also gives the violin a convincing go. At the same time, his vocals, which have never hidden the strong influence of the legendary Peter Gabriel (ex-Genesis), have made even more progress compared to the previous album. That’s truly fascinating, especially for those of us who remember his modest vocal beginnings with his own alt rock outfit The Urbane.
»Map of the Past« is distinctly melancholic by nature, and melody, as an important part of the long-standing It Bites tradition, plays a key role. The balance between power ballads and symphonic rock ‘burners,’ where Mitchell’s guitar takes the lead, is once again very well struck. The songs flow nicely into one another and in this way convincingly tell a concept about a world from the distant past, inspired by the discovery of an old family photograph. It’s a tribute to the turn of the 19th into the 20th century, when the Victorian era came to an end, focusing on the fates of ‘ordinary’ people caught up in major historical events (the Boer wars, the sinking of the Titanic, World War I, etc.).
So the album doesn’t lack for classic British patriotism, which in this age of general, musical included, Americanization has become pretty rare even among the proverbially patriotic Brits. It Bites present their national fervor in a healthy, unforced way, meaning without a shred of pathos or any admiration for British imperialism, so no worries about anyone’s stomach turning while listening to the lyrics. The only thing many longtime fans may miss is their trademark cheeky humor, which was an integral part of all their earlier albums. With Mitchell in the lineup they’ve gotten quite a bit more serious on that front, which is good in one way, as it’s proof of greater atmospheric maturity.
»Map of the Past« has a nicely judged, mutually complementary conceptual beginning and ending, with It Bites using various snippets from old radio broadcasts that sound as if they were recorded on a ‘prehistoric’-era gramophone record. The album’s contemplative nature shows up already on the opening power ballad »Man in the Photograph«, the main source of inspiration for the concept and the soldier on the cover. Mitchell’s vocals are full of nostalgic pathos, while solemn symphonic arrangements by keyboardist John Beck flow in the background. The first atmospheric contrast arrives with the punchy »Wallflower«. It’s a composition built on a mighty guitar riff that doesn’t hide its neo prog rock charm, thanks to the complex synth textures in the background. Here Mitchell pours himself a glass of poisonous vinegar and idealistically ventures into the darkest corners of Victorian England. The title track is bathed in an optimistic atmosphere and is the moment when It Bites, through a short instrumental section, first show off their exceptional technical perfection and tightness. Mitchell is once again excellent in his vocal delivery, and in the melodic chorus he’s strongly supported by good backing vocal harmonies.
»Clocks« has a serene, almost ‘wintry’ atmosphere, with gentle arrangements flowing in the background all along, while potent guitar passages and the expressive vocals of one of the most talented prog rock musicians of our age provide plenty of magic. It’s just a shame the chorus is a bit too repetitive for the song as a whole to take off beyond its power-ballad frame. »Flag« is undoubtedly the track on »Map of the Past« that pulls most strongly toward It Bites’ ‘golden era’ of the eighties, which means it’s an ideal fusion of prog and pop rock, combining melodic arrangements with complex rhythmic finesse. »The Big Machine«, which peaks with an epic chorus, features pompous symphonic arrangements and an irritated guitar riff. This time Mitchell hits some surprisingly high vocal registers that we weren’t used to hearing from him before. On the rhythmically playful »Cartoon Graveyard« Mitchell and company successfully blend classic It Bites mischievous atmosphere with dark symphonic shades usually associated with neo prog rock champions Arena.
The melancholic »Send No Flowers« is draped in sacred organ arrangements, which together with the lyrics creates the atmosphere of a sort of British lemonade out of black-and-white films, with an officer heading off to war and giving last instructions to his worried wife. The somewhat depressing mood is successfully blown away by cleverly woven-in, choppy guitar passages. »Meadows and the Stream«, seasoned with vivid synth textures, deserves to be called the most ambitious and complex composition on the album, since next to its dramatic chorus it contains quite a few interesting time changes that will delight all fans of this cult band’s prog rock side. The lament »The Last Escape«, laid over delicate piano sounds, where Mitchell again gets the chance to show he’s the art rock singer who has progressed the most lately, has a solemn mood without any shortage of tasteful instrumental finesse, which goes especially for the gastronomic slide guitar solo. The short acoustic ballad »Exit Song« is a fitting conceptual finale.
With »Map of the Past« It Bites have made a superb concept album with a wonderfully contemplative atmosphere. Despite all its nostalgic ‘good old days’ nature, it’s far from being meant only for the typical British soul. The fundamental reason why It Bites have confirmed their unique status as lonely dreamers successfully combining prog and pop rock is, without a shadow of a doubt, Mitchell’s vocal brilliance and the rich, varied offering of guitar artistry. Of course, you can’t overlook the contribution of his instrumental buddies, who once again do their jobs with distinction.
Lineup
John Mitchell (Arena) – guitar and vocals
Lee Pomeroy (Rick Wakeman Band) – bass guitar
John Beck – keyboards
Bob Dalton – drums
Production
It Bites
Tracklist
1. Man In The Photograph
2. Wallflower
3. Map Of The Past
4. Clocks
5. Flag
6. The Big Machine
7. Cartoon Graveyard
8. Send No Flowers
9. Meadow And The Stream
10. The Last Escape
11. Exit Song
