Despite the fact that Steven Wilson has produced an impressive body of work (Porcupine Tree, No-Man, I.E.M., Bass Communion plus a couple of previous solo albums), I confess that until an advance copy of this album arrived in the White Room, I had never heard anything by him. Those of you familiar with his work are probably shaking your heads in disbelief and muttering "shame on you". I am sure that you have been awaiting this album with eager anticipation. Now that I have listened to it a few times myself, I can understand why.
Those of you that have no time or inclination for 'Prog-Rock' may as well stop reading now and browse elsewhere, for this is most definitely progressive rock music. The influences that I can clearly detect, are King Crimson, Weather Report, Pink Floyd, The Enid, Mahavishnu Orchestra and a bit of Frank Zappa thrown in for good measure. Listening to it is almost like being transported back to my own record collection in 1973.
The album is made up of six fairly lengthy tracks (three are over 10 minutes long), in which Wilson weaves his multicoloured threads through pieces of music (it would be inaccurate to call them songs) that despite the influences, are clearly his own.
Most tracks go through a variety of changes in rhythm and texture. For example opening track 'Luminol' begins at a frantic pace with some powerhouse drumming (think Billy Cobham) and thudding bass. Then Theo Travis comes in with some jazzy flute before everything stops suddenly and a cappella voices sing in tight harmony. The pace continues behind a synthesiser melody but after about four and a half minutes everything slows down and over the top of lush guitar chords, Wilson sings a melody which is answered by beautiful harmonies that put me in mind of those on 'October 26' by The Pretty Things. Piano than takes over as the lead instrument before some Yes - like harmony vocals lead us into a slightly heavier section featuring some distinctly King Crimson sounding mellotron. Eventually it all comes together as we are taken back to the opening theme.
And that's only track one.
The following 'Drive Home' is all taken at a much more sedate pace and puts me in mind of 'Dark Side of the Moon', an album which Wilson became familiar with during his formative years. This is followed in turn by 'The Holy Drinker' the opening of which sounds to my ears a little like Mahavishnu Orchestra circa 'Birds of Fire'. But, yes you guessed it, that doesn't last long.
Perhaps at this point I should mention the superb musicians who grace this album. They are:-
Guthrie Govan - guitar
Nick Beggs - bass
Adam Holzman - keyboards
Theo Travis - saxophone & flute
Marco Minnemann - drums
The album is superbly produced and was engineered by renowned recording engineer Alan Parsons who honed his craft on such classics as 'Abbey Road' and 'Dark Side of The Moon' and who of course fronted his own prog-rock outfit, The Alan Parsons Project. The result is an amazing sounding album where every instrument and every note can be clearly heard. It's a sonic masterpiece in whatever format you choose to listen to it. I have focused somewhat on the music of the album but I should also point out that lyrically the tracks are pretty interesting, each one being a short story with a supernatural theme. For example, 'The Pin Drop' tells the tale of a woman floating down a river reflecting on the fact that she was murdered by her husband. Think of the works of Edgar Allan Poe and you won't be far off the mark. And of course it is all perfectly complemented by the music.
The title track which closes the album goes through fewer changes that its predecessors. Based on a simple melody over four piano chords, the effect is mesmerising and gradually the music builds into what we used to refer to as 'symphonic rock' back in the day. I am reminded somewhat of The Enid and their early 70's albums 'In The Region of The Summer Stars' and 'Aerie Faerie Nonsense'.
As it ends, I reach immediately for the remote control to start it all over again. Simply wonderful and yet another contender for album of the year. Is it really only February?
Postscript
I know I have arrived rather late to this particular party but I do feel that the back catalogue of Mr Wilson merits some further exploration. The trouble is, there is so much of it and there are only so many hours in the day. Some advice as to the 'essential' recordings from Steven Wilson or any of his other projects, would be much appreciated.
Most tracks go through a variety of changes in rhythm and texture. For example opening track 'Luminol' begins at a frantic pace with some powerhouse drumming (think Billy Cobham) and thudding bass. Then Theo Travis comes in with some jazzy flute before everything stops suddenly and a cappella voices sing in tight harmony. The pace continues behind a synthesiser melody but after about four and a half minutes everything slows down and over the top of lush guitar chords, Wilson sings a melody which is answered by beautiful harmonies that put me in mind of those on 'October 26' by The Pretty Things. Piano than takes over as the lead instrument before some Yes - like harmony vocals lead us into a slightly heavier section featuring some distinctly King Crimson sounding mellotron. Eventually it all comes together as we are taken back to the opening theme.
And that's only track one.
The following 'Drive Home' is all taken at a much more sedate pace and puts me in mind of 'Dark Side of the Moon', an album which Wilson became familiar with during his formative years. This is followed in turn by 'The Holy Drinker' the opening of which sounds to my ears a little like Mahavishnu Orchestra circa 'Birds of Fire'. But, yes you guessed it, that doesn't last long.
Perhaps at this point I should mention the superb musicians who grace this album. They are:-
Guthrie Govan - guitar
Nick Beggs - bass
Adam Holzman - keyboards
Theo Travis - saxophone & flute
Marco Minnemann - drums
The album is superbly produced and was engineered by renowned recording engineer Alan Parsons who honed his craft on such classics as 'Abbey Road' and 'Dark Side of The Moon' and who of course fronted his own prog-rock outfit, The Alan Parsons Project. The result is an amazing sounding album where every instrument and every note can be clearly heard. It's a sonic masterpiece in whatever format you choose to listen to it. I have focused somewhat on the music of the album but I should also point out that lyrically the tracks are pretty interesting, each one being a short story with a supernatural theme. For example, 'The Pin Drop' tells the tale of a woman floating down a river reflecting on the fact that she was murdered by her husband. Think of the works of Edgar Allan Poe and you won't be far off the mark. And of course it is all perfectly complemented by the music.
The title track which closes the album goes through fewer changes that its predecessors. Based on a simple melody over four piano chords, the effect is mesmerising and gradually the music builds into what we used to refer to as 'symphonic rock' back in the day. I am reminded somewhat of The Enid and their early 70's albums 'In The Region of The Summer Stars' and 'Aerie Faerie Nonsense'.
As it ends, I reach immediately for the remote control to start it all over again. Simply wonderful and yet another contender for album of the year. Is it really only February?
Postscript
I know I have arrived rather late to this particular party but I do feel that the back catalogue of Mr Wilson merits some further exploration. The trouble is, there is so much of it and there are only so many hours in the day. Some advice as to the 'essential' recordings from Steven Wilson or any of his other projects, would be much appreciated.
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