Steven Wilson at Newcastle City Hall.

My own blog reminds me that it was in October 2013 that I last saw Steven Wilson at this very same venue. On that occasion he was promoting his great album 'The Raven That Refused to Sing...And Other Stories'. I decided there and then that if the opportunity presented itself, I would return to see him perform live again. This decision was reinforced by the fact that he is currently promoting the even more ambitious work 'Hand. Cannot. Erase' which was one of my favourite albums of 2015. 

Once again upon entering Newcastle's City Hall on Saturday evening, I was transported back to my teenage years when I was a regular at that venue, seeing the likes of Jethro Tull, Family, Terry Reid, Savoy Brown, Ginger Baker's Airforce  and Yes. The venue still retains a certain aura for me and although I cannot claim to be a regular visitor these days, I am always enthralled to enter, take my seat and just soak up the atmosphere of the place.

The show began as last time out with a video showing on the giant screen at the back of the stage. Slowly the band took to the stage in pairs and launched into the opening of the album 'Hand. Cannot. Erase'. They then performed the album in it's entirety before taking a 15 minute break.

When they returned we were treated to a selection of older songs including three from Wilson's most recent project 'Four & a Half' which as he explained is a mini album of songs which didn't fit into any of his past projects. He went on to say that he hates the term mini album but explained that it was only 37 minutes long, which just happened to be the average length of an full album when he was growing up. He also during the evening made reference to David Bowie who of course has a great song 'Lazarus' on his current album. By way of tribute, Wilson performed his own song of the same title. 

I won't document the whole setlist here, as there are other ways for you to find such information. However I should mention particular highlights for me which included 'My Book of Regrets' and the Porcupine Tree song 'Don't Hate Me'.

Throughout the whole show, the performances were superb as one would expect from such a fine set of musicians. I am loathe to single out any individual but I was particularly impressed with Nick Beggs who played bass guitar, Chapman Stick, keyboards and sang backing vocals. And yes, it is the same Nick Beggs who hit number one in 1983 as part of Kajagoogoo.

To finish, Wilson performed another Porcupine Tree song, 'The Sound of Muzak' followed by what he regards as his finest song, 'The Raven that Refused to Sing'. I wholeheartedly agree with him. It was a great ending to a great night.

My Favourite Albums of 2015

Having earlier listed some of my favourite albums of the year, it is now time to reveal my own personal top three.

At number 3 spot is 'Hand. Cannot. Erase' by Steven Wilson a double concept album that deals with the 2006 discovery of the body of 38 year old Joyce Carol Vincent. It is a shocking and heartbreaking story, but Wilson deals with the subject of Vincent's life in a sensitive way and the songs are by turns, dramatic and spellbindingly beautiful. The contrasts between the light and dark aspects of the story are brilliantly recreated through Wilson's compositions making this album one of his strongest yet. 
I am very much looking forward to seeing live performances of this material when Wilson visits these part next month.

My second favourite album of the year is 'Primrose Green' by Ryley Walker. As I said when I originally wrote about this album in May, it is impossible to hear the album without thinking of John Martyn, Bert Jansch, Van Morrison and Tim Buckley - yet Walker proves through his songwriting, guitar playing and singing that he is a major talent in his own right. Also credit must go to the wonderful musicians who ably support him on this album. 
I am also looking forward to seeing him perform live accompanied by renowned bassist Danny Thompson, in February next year.

Finally we come to my absolute favourite album of the year. And no, I have not been influenced by the fact that the Unthanks just happen to come from my part of the world - the north east of England. The majestic album 'Mount the Air' just happens to be, in my opinion, the best thing I have listened to this year. I was also fortunate enough to see them perform live on two occasions and those experiences confirmed my view that the Unthanks are a major talent and will very soon gain the kind of recognition they so thoroughly deserve. 
The title song is itself worth the price of the album. Based upon a traditional piece which in 1958 found it's way into the Dorset Book of Folk Songs, the band have cleverly introduced elements of Miles Davis' 1958 album 'Sketches of Spain' and produced a piece of music which at 10 minutes in length, still feels too short.
For your enjoyment, here is a link to that very track. Enjoy!
'Mount The Air'

Steven Wilson - Hand. Cannot. Erase

When I last spoke of this album, my report concerned itself more with the story behind the concept of the recording.

As I was still in the early stages of absorbing the content, I hinted that I might need more time to make an accurate assessment of this double album.

Two months on, I find that my persistence has indeed paid off. Once again Steven Wilson has produced an album that will be vying for the accolade of album of the year - well, in the White Room at least.  

Less jazzy than it's predecessor 'The Raven That Refused To Sing' the music still maintains most of the elements that have made Wilson and his band Porcupine Tree so successful. And of course Wilson, who has been entrusted with the remastering of back catalogues of King Crimson, Jethro Tull, Yes and XTC, always ensures that his albums sound absolutely perfect. Of course the subject matter I referred to earlier, that of Joyce Vincent withdrawing into the the "safety" of social media, means that the album has poignant and unsettling moments. But the beauty and complexity of the music keeps the listener spellbound and interested throughout. 

The band are currently touring to promote the album and I see that a few UK dates have been added in January including one at Newcastle's City Hall. Having enjoyed him so much on his last visit, I have secured my ticket.

Steven Wilson - Hand. Cannot. Erase.

Following my enjoyment of his 2013 album 'The Raven That Refused to Sing (and Other Stories)' I was looking forward immensely to Steven Wilson's latest offering, 'Hand. Cannot' Erase.'. The fact that it is a concept album did not put me off one bit as the concept quite appealed to me being loosely based on the sad but fascinating tale of Joyce Carol Vincent.

Lest you missed the story or have simply forgotten, the body of Vincent was discovered in her London bedsit in January 2006. The sad but shocking part of the story is that it had lain there undiscovered for two years! Like most people upon hearing the story, I assumed that Vincent was an elderly lady who had no friends or family to speak of, but it transpired that she was only 38 years old and was a beautiful, intelligent and socially active woman. How then could it have taken anyone so long to discover that she was 'missing'?

Attempts have been made to answer such a question, most notably in the 2011 film, 'Dreams of a Life'. Now, Steven Wilson has taken the themes of social detachment and urban alienation and woven eleven songs around this heartbreaking tale. Yet, the fundamental questions still remain unanswered and bring me to one of my own concerns about modern life. We are now so caught up in the the experience of what so called social media has to offer, that I sometimes wonder whether we are somehow missing the point of what social interaction should actually be about.

Let me give an example of what I mean.

A few weeks ago I met with a friend for a drink and a bite to eat in a city centre bar. As we chatted over our drinks, I noticed a group of four young women at an adjoining table. Throughout their own meal, each of them clutched in one hand, a mobile phone and as they chewed, their thumbs rapidly tapped out messages on the tiny keypads. Occasionally they would share messages with the other girls at the table, or they would lean together to take a 'selfie' which would then no doubt be sent off into the virtual network to be seen by other 'friends' who could not be present (or were perhaps enjoying their own social gathering elsewhere). 

Where, I wondered, was the real social interaction between these four young women. You know, what we used to call - conversation? Sadly it seemed to be non existent. Having finished their own meals, they left still clutching their mobiles, still staring intently at the shiny screens. To be honest, I found it all rather depressing. Despite these girls having access to a whole network of 'friends or contacts' did that make them less lonely or isolated than Joyce Carol Vincent? I wonder.

Anyway, you may by now be wondering what I think of the actual album. Well, there is no doubting the quality of the musicianship and as one would expect from Steven Wilson, the brilliance and clarity of the production. However I find the album less jazzy than it's predecessor and somehow lacking the charm and warmth of 'Raven'. Maybe it will just take me longer to get into and I intend to persevere, but I somehow feel it will fail to make it into my list of best albums of the year.

We shall see.

 

Opeth - Pale Communion

Although Opeth have been in existence since 1990, I confess that to the best of my knowledge I have heard nothing by them. Perhaps the fact that Wikipedia describes them as a a Swedish heavy metal band has something to do with that. I may have wide ranging tastes in music but aside from the first couple of Black Sabbath albums, I have managed to steer clear of heavy metal.

Nevertheless someone suggested I may enjoy the most recent Opeth album, 'Pale Communion' and when comparisons were made with Steven Wilson and Porcupine Tree I felt compelled to give it a listen. I'm pleased that I did!


It just goes to show that one should not pay too much attention to the labels that critics and others are inclined to attach to artists these days. Far from being a heavy metal band, I detect in this album shades of prog-rock, folk, jazz, blues and what I suppose could be called, new age. But there I go with the labels again. 

I understand that front man Mikael Akerfeldt has toned down his usual death metal vocals for this album and they have been replaced by a mellower sound that would not be out of place on a folk-rock album particularly on parts of, 'Moon Above, Sun Below'. This one track features some blistering rock, sublime electric guitar, almost CSNY vocal harmonies and some even more sublime nylon strung guitar. It may be almost 11 minutes long but I never get bored listening to it.

Following the rather less successful instrumental, 'Goblin' the seven minute 'River' begins with a catchy melody featuring acoustic guitars and beautiful harmonies before the whole thing takes off in a wild race between electric organ and guitar. 

Even better is 'Voice of Treason' with its hypnotic riff, synthesised strings and driving drum patterns. Then to end the album come the lush, stately strings that take us into 'Faith in Others'. In it's beauty it reminds me of the closing title track to Steven Wilson's 'The Raven That Refused To Sing'. It is gorgeous and about as far removed from death-metal as one can get.

The new direction taken by Opeth over the past couple of albums may be causing some consternation among some of their long-standing fans as they yearn for the harsher death-metal sounds, but for one I am grateful for this change in focus. There's nothing wrong with a bit of very well done prog-rock. And after all, it's only a label you know.

Neil Young - A Letter Home

Is Neil Young taking the piss?

Albums of cover songs are all well and good as long as the artist adds something to the original. Much as I admire Patti Smith, I found that listening to her 2007 album, 'Twelve' simply made me want to go back and listen to the original versions of 'Are You Experienced?', 'Smells Like Teen Spirit', 'Gimme Shelter' and Neil Young's 'Helpless'. So on the subject of Neil Young, I report that he has now released his own album of cover versions in which he tackles among others, Gordon Lightfoot's 'Early Morning Rain', Dylan's 'Girl From The North Country', Tim Hardin's 'Reason To Believe and the Bert Jansch song 'Needle Of Death' which inspired his own 'The Needle And The Damage Done'. All great songs I must confess.

However, not only does Young not add anything to the original versions (or the scores of other covers that have been done of these songs), but through the quality of the recording, he actually takes an awful lot away from the enjoyment of hearing them.

Let me jump back to previous posts I have written on the subject of Neil Young pontificating about the quality of modern day digital recording techniques and particularly of compressed music files. So strongly does he feel about this, that he has released his own Pono music player which he claims retains the original sound quality laid down at the recording sessions. 

Yet despite voicing these feelings, for 'A Letter Home', Young has recorded all twelve tracks at Jack White's refurbished 1947 Voice-O-Graph recording booth. Consequently the sound replicates recordings made in that era complete with crackles and clicks. The experience is akin to listening to a very old and worn 78 RPM record. In fact I have some recordings made in the early 1920's that actually sound better!

Please don't misunderstand me as I am not against such sounds in the right context. The music on the 'Harry Smith Anthology of American Folk Music' and the more recent 'Rise and Fall of Paramount Records'  actually benefits from the authentic early 20th century sound. In my view it just would not sound right any other way. But the songs included in Young's collection have all be recorded elsewhere in fine quality and I really see no need for him to make them sound like something they are not.

Could Neil Young possibly be trying to make a point, or is he just taking the piss?

Here he is performing 'Needle of Death'. You be the judge.

As a postscript I should just add that it is not all bad. One of the songs is the bittersweet 'Changes' which originally appeared in the 1966 album 'Phil Ochs in Concert' and anything that pushes the music of the late Phil Ochs into the limelight is OK by me.

Regarding cover versions, if you do want to hear some well known songs that have been uniquely interpreted, look no further than 'Cover Version' a collection put together by Steven Wilson in which he offers totally new takes on tracks by Prince, Abba, Alanis Morissette, Momus, The Cure and Donovan. Now that's how cover albums should be!

Here  is his version of the Alanis Morissette song 'Thank You'

Beautiful and dare I say better than the original?.

Best Albums of 2013 - My Top Six

It has been quite a difficult task coming up with my absolute favourite albums of 2013; it truly has been a wonderful year for new (and reissued) music. Now it has finally come to the point where tradition dictates I should name the ones that come top of the pile, the deciding criteria being which new albums have occupied most of my listening time this year. In the end it comes down to the following six.

To place these six albums into some kind of order is also difficult for I am sure that whatever sequence I come up with today, I may disagree with tomorrow and to quote David Bowie, 'and the next day and the day after that'.

Anyway, this is the White Room top six (in reverse order) for 2013. 

6. 'Haw' by Hiss Golden Messenger.
I wrote about this album in May and you can read my thoughts here.

5. '[Awayland]' by The Villagers.
This was written about way back in January and my prediction that it would feature among my favourites was accurate. Read my thoughts here.

4. 'We Are The 21st Century Ambassadors of Peace & Magic' by Foxygen.
My thoughts on this work appeared on these pages in July. Read them here.

3. 'VII' by Blitzen Trapper.
One of my favourite bands of the past ten years didn't disappoint with this offering. Yes, of course you can read my opinions here.


2. 'The Raven That Refused To Sing (And Other Stories)' by Steven Wilson.
It was a very close run thing for first place this year. I love this album and on any other day it may have clinched the top spot. If you wish, feel free to read more here.
1. 'Field Of Reeds' by These New Puritans.
I don't see this album finishing top of any other list this year, though to be fair it has featured in the lower extremes of some magazine lists. There is no doubt that this is less accessible than other albums in my own list, yet it is for that very reason that I have decided to award it first prize this year. The band are not seeking any commercial route to stardom but are bravely ploughing their own furrow, creating music which is challenging yet immensely rewarding for those prepared to stick with it. This is an album that will stick with me for many years and which one day may be looked back on as a true classic.

You can of course read my original thoughts here.

That's all until after Christmas but here's wishing you a very happy holiday.
Cheers!

Steven Wilson Live at Newcastle City Hall

On Friday 18 October, I set off for the Newcastle City Hall with fairly mixed feelings as I was attending this concert at the expense of seeing These New Puritans who were playing just across the River Tyne at The Sage, Gateshead. Two of my favourite finds this year, and they both have to be playing in my area on the same night. That's what we call sod's law in these parts.

Anyway the tickets for Steven Wilson were obtained long before I knew anything about These New Puritans, so off I went looking forward to seeing live performances of songs from one of the best albums of the year, 'The Raven That Refused To Sing... and Other Stories'. I was not to be disappointed as the band played almost everything from that album. (Only 'Pin Drop' was omitted).

It is always something of a thrill entering the City Hall as it was one of the first major venues I ever attended back when I was a slip of a lad. I have lost count of the number of times I have been there but regrettably these days visits are something of a rare occurrence simply because they tend to feature very few artists that interest me.

Soon after taking our seats, a film was projected onto the rear curtain and as the main character of the film (a street busker) strummed his guitar, the sound was replaced by that of Wilson himself strumming his own acoustic guitar and ambling barefoot onto the stage.

He was eventually joined by the other five members of his band and soon they were pumping out the opening bass riff of 'Luminol' which opens the aforementioned album.

The recent songs were broken up by a couple from Wilson's previous album, 'Grace For Drowning' as well as a brand new song which is currently named 'Soundtrack to Decline' but the title like the song was being road tested and is therefore subject to change.

Throughout I was struck by the quality of the musicianship as the band successfully recreated the complex rhythms produced on record. In this respect I was put in mind of when I went to see King Crimson, Genesis and Yes in the early 1970's and the use of film and projected images also recalled the visual attributes of the aforementioned master of prog-rock.

After a little over two hours, the band ended with an encore of 'Radioactive Toy' from the first Porcupine Tree album and the band took their bows and left, leaving us to take one more look around this wonderful venue and venture out into the night.

The full setlist consisted of:

Trains
Luminol
Postcard
The Holy drinker
Drive Home
Soundtrack to Decline
The Watchmaker
Index
Sectarian
Harmony Korine
Raider 2
The Raven That refused To Sing
Radioactive Toy

What Are The Chances of That??? - Steven Wilson clashes with These New Puritans

I'm currently enjoying sunshine, walks, fine scenery and the occasional ice cold cerveza in Spain but thought I'd share this little item with you.

As you will know if you have read earlier posts, I have been particularly impressed by two albums this year. They are 'The Raven That Refused To Sing and Other Stories' by Steven Wilson and 'Field of Reeds' by These New Puritans.

Back in March I learned that Wilson was playing at one of my all time favourite venues, Newcastle City Hall on Friday 18 October. I wasted no time in purchasing my ticket.

Now, I have discovered that These New Puritans are commencing a UK tour and will be playing The Sage in Gateshead on......
Yes, you guessed it - Friday 18 October!

I mean what are the chances of that?

They are also playing in Leeds on Wednesday 16 October so I may just have to hop in the car and drive there. The things we do eh?

Anyway as they say here in Spain, hasta luego.

The Best Albums of 2013 (so far)

As another birthday slips by, I realise that we are once again midway through the year. So it seems a good time to quickly mention the albums that have most impressed me so far in 2013.

I have of course previously mentioned some of the best, such as:

• Pere Ubu - Lady From Shanghai
• Richard Thompson - Electric
• Villagers - {Awayland}
• Steven Wilson - The Raven That Refused to Sing
• Steve Earle - The Low Highway
• Hiss Golden Messenger - Haw
• These New Puritans - Field of Reeds
• Anais Mitchell & Jefferson Hamer - Child Ballads

Others that are contenders include 'Til Your River Runs Dry' by Eric Burdon who remains in very fine voice. Also a great return to form by David Bowie with 'The Next Day', 'Push the Sky Away' by Nick Cave & The Bad Seeds and the second album from Mount Moriah entitled 'Miracle Temple'.

I am also currently listening to 'Southeastern' by Jason Isbell and 'Once I Was an Eagle' by Laura Marling and I have little doubt that they will feature in my final decision at the end of the year.

All in all it has been a great year so far. And there are still another six months to go!

Steven Wilson - 'The Raven That Refused To Sing (and Other Stories)'

 

 

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.