Iron Maiden are an English heavy metal band formed in Leyton, east London, in 1975 by bassist and primary songwriter Steve Harris. The band's discography has grown to thirty-seven albums, including sixteen studio albums, eleven live albums, four EPs, and seven compilations.Pioneers of the New Wave of British Heavy Metal, Iron Maiden achieved initial success during the early 1980s. After several line-up changes, the band went on to release a series of UK and US platinum and gold albums, including 1982's The Number of the Beast, 1983's Piece of Mind, 1984's Powerslave, 1985's live release Live After Death, 1986's Somewhere in Time and 1988's Seventh Son of a Seventh Son.
- Mad Professor Torrent Discography Fish Marillion Song
- Mad Professor Torrent Discography Fish Marillion Movie
- Mad Professor Torrent Discography Fish Marillion Video
Since the return of lead vocalist Bruce Dickinson and guitarist Adrian Smith in 1999, the band have undergone a resurgence in popularity,1 with their 2010 studio offering, The Final Frontier, peaking at No. 1 in 28 different countries and receiving widespread critical acclaim. Their sixteenth studio album, The Book of Souls, is set for release on 4 September 2015.
Mad Professor during a soundcheck at Reggie's Music Place in ChicagoBackground informationBirth nameNeil Joseph Stephen FraserBorn( 1955-03-27) 27 March 1955 (age 64)Genres,Occupation(s)Record producer,Years active1979–presentLabelsAriwa, Are we mad? Mad en Jamaica.WebsiteMad Professor (born Neil Joseph Stephen Fraser, 1955, ) is a British national producer and engineer known for his original productions and remix work. He is considered one of the leading producers of dub music's second generation and was instrumental in transitioning dub into the digital age. He has collaborated with reggae artists such as, and, as well as artists outside the realm of traditional reggae and dub, such as, the Brazilian DJ,. Contents.Biography Fraser became known as Mad Professor as a boy due to his fascination with electronics. He emigrated from Guyana to London at the age of 13 and later began his music career as a service technician.
He gradually collected recording and mixing equipment and in 1979 opened his own four-track recording studio, Ariwa Sounds, in the living room of his home in. He began recording bands and vocalists for his own label (including the debut recording by ) and recorded his first album after moving the studio to a new location in in 1982, equipped with an eight-track setup, later expanding to sixteen. Fraser's Dub Me Crazy series of albums won the support of, who regularly aired tracks from the albums. Although early releases were not big sellers among reggae buyers, the mid-1980s saw this change with releases from Sandra Cross ( Country Life), Johnny Clarke, Peter Culture, Pato Banton, and ( Sign of the Times). Fraser moved again, this time to, where he set up what was the largest black-owned studio complex in the UK, where he recorded successful lovers rock tracks by Cross, John McLean, and, and attracted Jamaican artists including and Faybiene Miranda. He teamed up with Lee 'Scratch' Perry for the first time in 1983 for the recording of the album Mystic Warrior (1989).Fraser's son continues his father's musical tradition, produced dub under the alias.Recordings. Mad Professor mixing and during a workshop in,Mad Professor has released hundreds of original recordings and has worked with a number of reggae and non-reggae artists.
He is perhaps best known for his 12 instalments of the Dub Me Crazy series and 5 albums under the Black Liberation Dub banner.
“My fifth record is in many ways inspired by the hugely ambitious progressive pop records that I loved in my youth (think Peter Gabriel’s So, Kate Bush’s Hounds of Love, Talk Talk’s Colour of Spring and Tears for Fears’ Seeds of Love).Lyrically, the album’s eleven tracks veer from the paranoid chaos of the current era in which truth can apparently be a flexible notion, observations of the everyday lives of refugees, terrorists and religious fundamentalists, and a welcome shot of some of the most joyous wide-eyed escapism I’ve created in my career so far. Something for all the family!”– Steven Wilson. Steven Wilson has announced details of To The Bone – his expansive, brilliant fifth album – and a major 2018 tour including a return to one of the country’s most iconic venues, the Royal Albert Hall, which has sold out in less than 48. Listen to the first single from the new album, Pariah, here.To The Bone is a gloriously dynamic modernist pop record as imagined by the UK’s biggest underground artist.Fusing driving futurist rock and spectral electronics to elegiac hyper-space ambience and dizzying, squalling guitars, To The Bone is Steven Wilson’s hat-tip to the hugely ambitious progressive pop records of his youth.
British musician Steven Wilson is used to people being unaware of his name and what he does. Several years ago, Wilson was dubbed “the king of prog rock’, even though his solo work and that of the band he is most associated with, Porcupine Tree, have flown under the radar for many years. The musician’s fifth solo album probably won’t make his name a household one, but there are enough forays into pop music (helped by co-writes with XTCs Andy Partridge) that will, at very least, offset his signature flashy guitar doodling and ostentatious key-change song arrangements. Embedded mostly in prog rock, however, the album rarely casts off the yoke of its many influences, which is fine if you’re into Yes or Marillion, but a major irritant if you’re not.byTony Clayton-Lea.
Wait long enough and everything old becomes new again. Steven Wilson’s career has often seemed like one long exercise in putting that idea into practice. Through at least half a dozen different musical outfits, he’s continually borrowed from and paid homage to the vast genre stew of music that’s shaped his life, from progressive rock to psychedelia, house, shoegaze, noise/drone, acid folk and much more. Most albums through his solo career have tended to center around one particular niche from decades past while hopefully putting his own omnivorous spin on it.
This begs some usual questions about the prospect of each new outing: which touchstones is he visiting this time, and how much is he looking backward or forward?The initially striking thing about To the Bone is how modern it sounds. After the self-consciously retro 1970s art-prog pastiches Grace for Drowning (KScope, 2011) and The Raven That Refused to Sing (KScope, 2013), he brought in electronics and drum loops with the more dense and eclectic concept piece Hand.
(KScope, 2015). This time around, the influences Wilson declares up front are Peter Gabriel, Kate Bush, Tears for Fears and Talk Talk, specifically their iconic art-pop works of the ‘80s—XTC’s Andy Partridge even makes an apt choice of co-writer on two songs—and yet, ultimately it’s one of his most successful efforts at making his familiar source elements thrive in the present century.That feeling doesn’t quite stay totally consistent throughout; the brief centerpiece “Permanating” bursts in with a chugging new-wave punk beat before mashing up an almost flower-child-ish disco chorus on top. It’s an amusing irony that in the most obvious throwback song, the theme is about being present in the moment before experience fades into the past. (“Hold onto the minute / and sing it / and live it / it’s always there.”) It also stands out just as much because its defiant positivity seems at odds with the album’s more overarching thoughts of modern-day worry and paranoia. The affair is clearly inspired by the always-unpredictable state of the world, but mostly avoids tying itself to time or place, give or take a mention of Facebook.The passion behind these themes gives the pieces a gut-level immediacy which often tends to get overlooked in Wilson’s cerebral songwriting. Ninet Tayeb’s plaintive vocals pack a powerful punch in the couple spots she appears, and using Mark Feltham’s harmonica as an electrified solo instrument is particularly inspired. To the Bone ends up as the most catchy-yet-heavy work he’s made under his own name (and perhaps ever, comparable only to his early-noughties albums with Porcupine Tree).There are inevitably a few speed riffs and unison fills scattered around, smoothly handled by a customarily top-notch backing cast (the frenetic space-rock suite of “Detonation” making a powerful highlight).
Still, the balance of trickiness and accessibility is handled with impressive success—it doesn’t have the prog world’s common feel of using odd signatures and complexity just for their own sake. There’s more than a little Prince in the mix on top of those abovementioned names, and aside from a questionable falsetto verse, the Purple One’s influence may be one of To the Bone’s key strengths. Wilson takes the right cues (without outright imitation) in blending gut-level energy with uncompromising smarts. For a musician who’s been adamant and uncompromising his whole life, he nonetheless sounds more honest and hits more bone-deep than everBy GENO THACKARA all about jazz.
Having sailed H.M.S. Prog as far out from the shore as it could go, the only options were to either turn amidships and repeat himself forever and a day hmmm, sounds familiar or abandon the fast sinking lumbering hulk and ride a sprightly dolphin to the next shore. As you will know if you have followed the career of Steven Wilson for more than the last five years or so, he is always evolving, always changing, so it is really no surprise that the dolphin left him on the farthest flung beach of a vast continent labelled POP, a place he’d last visited at the dead of Gothic night for the Insurgentes album. This time it is daylight, and the subject matter is truth, how we twist it, perceive it, and turn it into anything we damn well please in this wonderful post-fact world.If the fans have been paying attention, and judging from some comments it would appear that many have not, Mr Wilson’s love of certain strains of pop is well known, and their influence can be heard at various points throughout his career. If you check out this short list of five albums he says have been highly influential on him, you’ll see what I mean.OK, this is pop, as a rather good band from Swindon once said, and indeed, a certain Mr Partridge has writing credits on the title track. Paul Draper, currently enjoying a solo resurgence many years after his stint with indie pop-proggers Mansun, plays on the title track, the dulcet tones of Ninet Tayeb are present and more than correct on a lot of this record, and guesting on guitar somewhere or maybe everywhere is boundary-pushing Slovakian plank spanker David Kollar of KoMaRa fame.
Sorry if that sounded vague, but the bereft PR blurb us mere amateurs have been graced with contains less factual info than you will find in your average speech by the current occupant of the White House.Perhaps the most obvious radio friendly song on the record is the charmingly poptastic Permanating, one of four songs previewed on YouTube prior to release, and three and half minutes of the frothiest choon I can ever recall our man in the no doubt expensive retro-NHS specs writing. You would have to be a deathly cynical beast not to at least smile to yourself as Permanating bounces by, but judging by the wailing and gnashing of teeth from predictable quarters, there does indeed seem to be plenty of joyless souls around. Everyone needs to give their furrowed brow a rest now and then or the creases become permanent. However, some do get it “just asong with good vibrations” said one enlightened soul, which is exactly right.To be fair, Permanating is a throwaway tune that were it by anyone else the likes of you and me probably wouldn’t even notice it. Steven is obviously proud of it as he says “In my mind this is what ABBA and Electric Light Orchestra would sound like as produced by Daft Punk!”, a somewhat over-effusive description if you ask me, but then again it is his baby. Permanating is also rather the exception than the rule, and it sits in the middle of the album like a bridge and as such works just fine. Overall, To The Bone has an intelligent take on pop that Bowie, Prince, Peter Gabriel, Kate Bush, Abba, XTC, etc., would recognise, and if the musically myopic would give it a chance, there is actually quite enough here to satisfy those who demand more than the basics, and for those who blanche at the very idea of dancing.
One song is over nine minutes long, doncha know, and despite all the gossip, it ain’t THAT different to what has gone before.We have now chewed right through to the bone of contention, so on with the job in hand. The album is bookended by two songs that could easily be Porcupine Tree numbers from just before they discovered riffing. Elsewhere the entry of massed Mellotrons on the back of Ninet Tayeb’s emoting three and a half minutes into Pariah is guaranteed to make the hairs on the back of your neck get all priapic.As for guitar solos, Refuge goes all Prince on us, and even the proglodyte dwelling in the deepest cave would have to admit that David Kollar’s delightfully scripted flurry in Detonation, the nine-minute wonder I referred to above, is something to write home about. Simply by using David Kollar on the album, Wilson shows that he is still searching out those at the cutting edge to give added heft to his stylistically very readily identifiable songwriting style.All in all, To The Bone is a decent album with all the expected outstanding production values. It won’t tip the world off its axis, but it will no doubt keep the fans debating whether or not it is “Prog” enough for weeks. As we know, “fan” is an abbreviation of fanatic, so you can leave me well out of that one.Now signed to Caroline International, a branch of Caroline Music which is ultimately owned by the ubiquitous Universal Music Group, it is either a coincidence or Wilson’s apparently shrewd business acumen that his new and potentially more commercial direction will have the backing of one of, if not the biggest musical conglomerate on the planet. I will leave you to make your own mind up on that one.
Whatever, the man has worked hard for his success and the music he’s added to my creaking shelves by the barrow load over the last couple of decades and more means that as far as I’m concerned he deserves it, even if once more I appear to be losing interest in his journey. However, knowing me I’ll probably still buy the album. It’s a hard habit to break!by: Roger Trenwith.
In the world of modern progressive rock and metal, there are few who are as well known, respected, and revered as Steven Wilson. Both his current solo career and his years as the mastermind behind Porcupine Tree have earned him legions of fans around the world. It therefore caused quite a stir of excitement in the prog community when it was announced that his upcoming album, ‘To The Bone’ would be released this August. Then it was revealed to be a progressive pop album, and singles began to be released. And so as fate would have it, it quickly went from being one of the most anticipated albums of the year to what is undoubtedly the most controversial prog album of the year.Spend any time in a prog forum or social media group and you will quickly discover that people with a limited understanding of what progressive music is, will consider progressive pop to be an oxymoron. Amusingly enough, Steven has been doing it for about twenty five years now.
From no-man’s ‘Flowermouth’ (1994) to his Blackfield project, he has been making maturely-written pop music for a long time now. This time, however, Wilson is taking many of his cues from the progressive pop that came to fruition in the 80s. Peter Gabriel released a string of well-made and artistic progressive pop albums, not to mention one of Steven’s oft-mentioned influences and loves; the Queen of prog herself, Kate Bush. Add in a love for the catchy pop writing of Abba and a few nods to ELO, and you have the foundation on which this album is built. It IS possible to write interesting, mature, intelligent, and legitimately progressive music within a pop format, and ‘To The Bone’ is an excellent example of it.The album starts with the title track “To The Bone” and is a bright and punchy pop-sounding song, which is often key-based, but with a steady use of jaunty and frequently heavier guitar riffs as well.
The theme is the modern nature of truth, whether it is all relative to one’s own perspective, or if actual objective truth is a real thing. The song, like most of the songs on the album, is strong on vocal melody, and in this instance uses female background singers to strengthen the melodies on the chorus.
As shouldn’t be surprising for fans of Wilson, the pop aspect is only one part of the music. There are also longer instrumental sections, guitar solos, and vocal harmonies that would not have been out of place on the Porcupine Tree classic ‘Stupid Dream,’ and that is very much the case for most of the album.Moving ahead, we come to “Pariah,” which is one of the album’s singles and videos.
It is co-sung by Ninet Tayeb who made a critical contribution to the heartbreaking song “Routine” off Steven’s last album ‘Hand. Erase.’ While certainly not rivaling her performance then, her vocals are essential to making the song work. The tone and feel of the song should be familiar to any Wilson fan as, while “pop” in nature, it has his signature style to it as well. The song unsurprisingly deals with post–breakup musings. Lost love and loneliness is a very common theme of his, so it comes this is to be expected.While I’m not going to go track by track, it does so happen that the next tack, “The Same Asylum As Before,” is one of my favorites and one that worms its way into your head long after the album is over. In spite of the catchy melody, or perhaps because of it, the song is guitar heavy and in fact heavy in general.
It’s much more of a driving rock song, which happens to contain great melodies and vocal harmonies, than a pop song that happens to have some guitar. It goes against the grain of what “pop” is supposed to sound like, which is really the heart and essence of the album. It is also why I don’t think the singles are at all representative of the album as a whole, and is a prime example of why I don’t like to listen to singles out of context of the album: They very often give a false impression of what the album will be. Similarly, the following song “Refuge” isn’t in any definition of the word a pop song. It begins dark and slow, and very moody with Steven singing over the top, before changing directions and heavy riffing begins, and the drums take on a diverse almost jazz like direction.
The majority of the second half of the nearly 7–minute track is entirely instrumental, and it closes with a bluesy bit of harmonica countering minimalist piano work.By contrast, “Permanating” is entirely pop and another single; a single that has been met with a good bit of derision. In the press release for this song Steven stated that it was meant to be in the style of Jeff Lynn and ELO. I’ve been saying for years now, that Wilson is second only to Jeff Lynn in writing great melodies, so I had some hopes for the song. And it DOES capture some of the feeling of ELO. Only it sounds like ELO if Lynn wasn’t trying very hard, and had to throw a song together in five minutes.
This song will surely drive some people insane, and while I don’t think it’s quite that awful, it’s certainly the weakest song on the album in my opinion.The final released single is “Song of I” and in many ways is the polar opposite of “Permanating.” While “Permanating” is an upbeat, almost danceable song, “Song of I” is slow, brooding, and awash with dark synth music. The vocals are once again shared, this time by Sophie Hunger who has a low, almost seductively smoky voice, which works well with the music. The song was released with a music video which is several minutes longer than the album version, and drags out the chorus considerably more. And while it can be viewed as a pop song, it’s certainly not a typical one.To reiterate the variety on this album and how it retains its prog nature (and that the singles are misleading) we come to “Detonation,” which is one of the strongest on the album and is solidly on the prog (borderline metal) side of things. The longest song on the album at over 9 minutes it deals lyrically with religious extremism, and given what London has seen in recent months, lines such as ‘detonation for the greater good’ are more than a bit chilling. What really makes the song stand out, though, are the two extended instrumental sections, which are dark, heavy, and sum up most of the things that Steven has been known for over the years. As many of his better songs over the years have done, it builds with intensity and gets more interesting as it goes along.
I honestly feel that if this song had appeared on Porcupine Tree’s ‘Deadwing’ people wouldn’t have thought it was out of place in the slightest, and while not a classic, it would certainly have gone over well. The best guitar work and drumming are also saved for this track, reminding people that prog and complex writing still holds an important place in his work.The album closes with “Songs of Unborn” which feels similar in tone and style to “Happy Returns” which closed out his last album.
It is melancholy and evolves slowly, and with lines such as ‘the dreams that you will have are public domain’ are classic Wilson in nature. It’s a sad, moody closer to what is otherwise an often upbeat and surprisingly fun album. While it hits on the sadder emotions that he’s so known for, it is certainly also the happiest sounding album that Steven has ever put out.It still has issues, of course; the above mentioned “Permanating” will either be a love or hate song, and might (foolishly) dissuade people from buying the album. The album may also take a while to grow on some people. I rather enjoyed it the first time through, but I definitely found myself enjoying it more the more I listened, and the more the layers of music came through. For many, especially if you’re upset that we didn’t get ‘The Raven That Refused to Sing: Part II’ this one might take a while to enjoy. It also lacks a single song that really grabs the listener by the throat and throttles them, in the manner “The Raven That Refused to Sing” or “Routine” do.
And while not every album is going to have such a song, his albums nearly always do, so I at least don’t get the same sort of high I get from some of his other work. Love it, or hate it, just do so based on what the album actually IS and sets out to be. Not what you wanted it to be.Ultimately, Steven Wilson has succeeded fully in bringing an intelligent, mature work of progressive pop to the modern world. ‘To The Bone’ sets out to show that catchy, pop based material can still be written with depth and substance, and it does so brilliantly.
Fans with an open mind will find a lot to love here, and plenty to return to get more out of on repeated listens. It might well be his more controversial album to date, but it’s also one of his boldest, and shows an artist who doesn’t want to sit still with his past accomplishments and regurgitate what he’s always done. Recommended.review by.STEVEN WILSON. Whatever your take on prog rock, one can scarcely deny that the genre has produced some of the great musicians of all time. More debate could be had over how many genuinely great songwriters prog has produced. One name that does deserve a place on the list, however truncated one might make it, is Steven Wilson, the ex-Porcupine Tree frontman now unveiling his fifth solo album, To the Bone, which is also his first on a major label (the Caroline subsidiary of Universal).Over the course of his 30-year career to date, Wilson has proved himself consistently flexible.
Porcupine Tree veered between classic prog, post-Radiohead art rock, metal, and even (occasionally) pop, with ease. That’s without mentioning the trip hop leanings of early No-Man (probably the most underrated band of the last 25 years), in collaboration with Tim Bowness, or the alt-rock of Blackfield, alongside Israeli superstar Aviv Geffen. He’s also produced a raft of superb experimental records under the Bass Communion and I.E.M. All these strands began to fuse together once Wilson began his solo career, which kicked off with the brilliant pair of Insurgentes (2008) and Grace for Drowning (2011). These records truly spanned the depths of Wilson’s musical personality, and stand as peaks in his long career. The Raven That Refused to Sing (2013) and Hand.
(2015) were quickly held up by the media as contemporary prog classics. Even if neither of the latter two records quite clicked for me, it would be foolish to dispute that all four of these albums emphasised Wilson’s songwriting strengths. Each contained hints that – one day soon – Wilson might leave the orthodox conception of 'prog’ behind, in favour of the world of pop. To the Bone is that day arriving. It has been billed as Wilson’s 'hat-tip to the hugely ambitious progressive pop records of his youth’ (Gabriel, Talk Talk, and Tears for Fears are mentioned explicitly in the press release). Unfortunately, however, To the Bone works neither as a prog record nor as a pop record and it certainly doesn’t combine the two notions in a way that is anything to get excited about.The reference points that the press release notes are immediately apparent upon the record’s opening, which has the fingerprints of Gabriel in particular all over it.
There’s also a clear Bowie influence, which remains present throughout. What there’s very little of is a sense of personality, a theme that continues as the album moves forward.
‘Nowhere Now’ is more reminiscent of a forgotten mid-2000s Coldplay album track than anything else. ‘The Same Asylum as Before’ has a spectacularly catchy hook, but suffers from a painful (and deeply ill-judged) falsetto vocal performance. ‘Permanating’ sounds a little like A-Ha attempting to cover 'Mamma Mia’ in the style of The Beatles (unfortunately it’s not as good as that sounds). Two tracks later the record reaches a true low point, with the awful post-grunge nonsense of ‘People Who Eat Darkness’ (featuring some of the worst lyrics Wilson will ever write).That’s not to say there aren’t any highs. There are hints of Wilson’s songwriting strength peppered throughout.
‘Pariah’ makes the most of the excellent vocal support of Ninet Tayeb (who also featured prominently on Wilson’s last LP). ‘Refuge’ slots nicely into the middle of the record. ‘Song of I’ is an interesting take on latter day Massive Attack, even if its lyrics don’t quite convince, whilst ‘Song of Unborn’ is a serviceable enough closing track. As a whole, however, the album is just a mess. Its cherry picking from the various most accessible ends of Wilson’s musical spectrum isn’t progressive, it’s just stylistically indecisive. The album still feels like a rock record, but the guitar-led tracks are uniformly less interesting than those that largely focus more on keyboards or electronics (and even these tracks tend to feature unnecessary guitar solos or full band crescendos).Despite its occasional high points, then, To the Bone feels rudderless and – at its worst – idealess, especially over its hour-long running time.
This record may showcase adeptly Wilson’s love for 'progressive pop’, but it also demonstrates a surprising lack of nous for putting an album together based on this concept. One can only speculate, but ultimately the impression given is that Wilson has focused more on the idea of writing a pop record than on actually delivering the goods. There are hooks here, but they are scattered and often attached to tracks that come worryingly close to mediocre exercises in MOR. I remain convinced that Steven Wilson is capable of producing a great pop album, but this sure as hell isn’t it. By Benjamin Bland. The bleak progressive prince has gone pop.
In some ways, yes he has, yet he’s still prog as fuck. I appreciate that with every solo album Steven Wilson has evolved as a musician. His debut solo effort, Insurgentes, essentially sounded like another Porcupine Tree album. Grace For Drowning was an evil lurching jazz exploration. The Raven That Refused To Sing (and Other Stories) took the jazz elements from Grace, made them less bleak (while making the lyrics a thousand times bleaker), and added in all sorts of musical twists unlike anything he had produced before.
I then feel like Hand. Is where his pop rock dabbling began. Sure, you have the epic “Ancestral” or “Routine,” but you also have the title track and “Perfect Life.” Then there is the micro album, 4 ½, which felt like more of Hand.There is this strange sub-sect of his fans already whining about him going pop on To The Bone. Wilson said he was largely inspired by Kate Bush and Tears for Fears on this record, and I hear it. In fact, you can dance to “Permenating,” arguably unprecedented in Wilson’s catalog. Similarly, the tambourine-driven groove is strong on “Nowhere Now”, which is in the same vein as “Permenating” until the soaring progressive finale. Then there is in the lead single ballad (of sorts) “Pariah,” which a pop-structured verse/chorus/verse/chorus/ending track.
“Pariah” proves to be one of the best in his catalog, as this track is a beautiful sweeping song with fantastic vocals from repeat contributor Ninet Tayeb. It is essentially this album’s “The Raven That Refused To Sing.”Despite my appreciation of Wilson’s tendency to morph with each album, there are also a few safe Steven Wilson jams on here that I really enjoy. “Refuge,” in a good way, sounds like a leftover track from Hand until the harmonica hits. “Blank Tapes” is a brief bleak intermission that could have fit on Grace. “The Same Asylum as Before” could have snuck onto any solo album so far with its “doo doo doo” vocal fills, guitar wanking, and overall tone.This is the album I would have expected to follow Porcupine Tree’s The Incident. Songs like “Time Flies” and “I Drive The Hearse” are poppier songs than stuff from Fear of a Blank Planet or Deadwing, and those would pair well with “The Same Asylum As Before”. I would even say that “Song of I” could fit in on any album in the latter half of Porcupine Tree’s catalog.
While not the same in tone as the latter, those pining for your more progressive tracks will love “Detonation” (which is this album’s “Ancestral”) and “People Who Eat Darkness.” Both tracks are lengthy, intricate, and dark.Fans will likely argue forever about the progressive merits of this album, but we’ll all be able to agree that lyrically Wilson is just as one would hope, with songs about living next door to a terrorist (“People Who Eat Darkness”) and using religion to justify being a dick to people (“Detonation”). While the musical scale is not as grand as “The Watchmaker” from Raven or “Raider II” from Grace, his story telling abilities are just as strong. However, there is one moment when Wilson name-drops Facebook on “Pariah” and I found it so distracting.
I haven’t had that happen with his lyrics since he said “X-Box is a god to me” in “Fear of a Blank Planet.”This record reminds me a lot of another prog giant that also dabbled in pop. Fight me if you want, but that dude’s name is Peter Gabriel. Like Wilson, Gabriel started out in a progressive band before going solo. Each of his solo albums expanded his sonic pallet with a variety of instrumentation, influences, and effects. Peter Gabriel tapped Tony Levin and Robert Fripp (King Crimson) and Kate Bush to play on various releases. Over the years, Wilson recruited Marco Minneman, Guthrie Goven, Nick Beggs (Kajagoogoo), Adam Holzman and recently Craig Blundell and David Killar. In 1986, Peter Gabriel dropped the goliath album So which featured tracks like “Red Rain,” “Sledgehammer,” “In Your Eyes,” and many more great proggy and poppy tracks.
It took a while to get here, but the point is that To The Bone is Steven Wilson’s So. Albeit, the state of music as a whole is in an entirely different place than it was when So dropped. To The Bone doesn’t have the chance to be the international best seller So is, but it is on the same creative level.To The Bone is not Raven nor Grace, but it should be celebrated similarly. Steven Wilson is a progressive musician advancing his craft, and “progressive” has become yet another genre (or sub-genre, whatever) that refuses to let artists branch out when evolving is the spirit of the whole thing. Yes this it is more poppy than some past releases, but there is no other pop music that sounds like it does when Wilson decides to play it.BY DANIEL CORDOVA. It’s common to see songwriters start out making simple, traditional, pop-oriented songs, and then over the course of a career evolve to create more complex, refined, and writerly work.
It’s rare, however, to see that same process in reverse. Steven Wilson, former frontman of Porcupine Tree and the figurehead of modern prog, is doing just that with his new album To the Bone. Where most of Wilson’s previous work is progressive and story-based, To the Bone is a collection of hard-edged, cleanly produced pop songs in the vein of big '80s art-pop groups like Talk Talk and Tears for Fears.That’s not to say that the album isn’t conceptual; in fact, it’s better than most current releases at examining anxiety in the world in 2017.
There are songs about bitter, faithless terrorists (“Detonation”) and social media stress and alienation (the stunning, balladic single “Pariah”). Instrumentally, nothing here matches the guitar-solo heights of Wilson’s 2013 opus The Raven That Refused to Sing (And Other Stories), but there are surprising echoes of Porcupine Tree’s urgent, layered early-2000s output. To the Bone is not perfect throughout, but the immaculately clean production, thought-provoking lyrics, and refined aesthetic make it an excellent introduction to the qualities that make Steven Wilson such an important songwriter and producer in modern music, prog or otherwiseBy Scott Dransfield.
Steven Wilson has been at the top of the Prog mountain for some time now. From his ground-breaking work with Porcupine Tree to his fearless solo career, perhaps his only mistake was being born at the wrong time. Had he been born earlier he surely would be recognized universally along with other greats like Waters and Bowie.
It was also a time where artists were not defined by a specific genre and allowed more freedom to approach different styles of music. He has long said he doesn’t see himself as solely a progressive rock artist and does not intentionally seek to make those type of records, it’s just in his DNA. He has sought after a way to break from the trappings of the Prog label for some time. With that in mind, we have the new album by Steven Wilson, the eclectic To The Bone. For anyone who feared he might release a collection of “Invisible Touch” singles, fear not. There is plenty here for the fan of Wilson’s progressive side.
He has not thrown out the baby with the bath water. However, this is a fresher and bolder Steven Wilson, like it or not.For those that have followed his career from the early days of Porcupine Tree, this album really should come as no surprise.
He has never done what people want him to do. Even on albums like Lightbulb Sun and Stupid Dream, there are shorter, poppier songs (“Piano Lessons”). With Blackfield, he has explored a softer, more delicate side and conversely, just as Porcupine Tree was breaking, he went and made an avant-garde record like Insurgentes. The larger point is that with his fearlessness, comes authenticity and that is as much what makes his music transcendent as is his ability to write a good hook.His 5th full-length studio album, To The Bone, is a culmination of Wilson’s vast and inventive career; a sampler of his work, with a few new twists thrown in.
The album opens with Peter Gabriel noises and percussion as dark, Pink Floyd singular guitar notes build suspense. From there, the song becomes a 90s alt-rock meets XTC track, complete with distorted harmonica. But this is only half of the song, where we are then greeted by early 90s Porcupine Tree for a complete and sudden change in the song. Just like that, you are welcomed in to familiar waters. This is a common theme throughout the album. Recent single “Song of I” is similar in that it starts off sounding strange and out of place until the middle explodes with an orchestral section that makes the song’s intentions all too clear. Wilson never gives away the good parts without the listener having to earn it by paying attention.There are, as evidenced by some of the singles, more accessible tracks spread out throughout the record.
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Songs like “Nowhere Now” find Wilson firmly comfortable in his new pop surroundings, drawing from Lightbulb Sun and Blackfield, yet sounding invigorated. He sings “Here above the clouds, I am free to roam the crowds” as if enjoying his new found freedom. Meanwhile, the album’s first single “Pariah” follows a more reliable path and is a track that no doubt provided some relief when first experienced a few weeks ago. Ninet Tayeb is invited back to the party for a couple of tracks (the other the short acoustic “Blank Tapes”) and shines here. Her voice counters with Wilson’s perfectly and she does a brilliant job of adding urgency to the lyrics. The second single “The Same Asylum as Before” again is a slice of Porcupine Tree (“Prodigal” anyone?) with falsetto singing during the verses. Certainly, the most polarizing song on the album will be the 3 minute track “Permanating”.
The blatantly pop-tinged track that Steven describes himself as what “ABBA and Electric Light Orchestra would sound like as produced by Daft Punk”, is not a bad song by any means. Is it what his fans will accept him doing, and will it garner him any new fans?
Time will tell. But if there was a song that was unlike anything he has ever done, it is that one.Now to the real proggy stuff on the album, and make no mistake, there are still a few killers on this set.
“Refuge” is a haunting and bombastic track that would easily fit on Hand.Cannot.Erase, Wilson’s best selling album from 2015. Then there are the two standout tracks, the final two on the album. The 9-minute “Detonation” is simply breathtaking. Peak-era Porcupine Tree, mixed with Wilson’s new solo vision, it is hard to imagine anyone else having the ability to shape a song in such a manner. It is a continuous flow of one idea that keeps evolving, yet it does not sound at all redundant. Quite the opposite, as it shifts slightly enough that by the time it ends, it sounds like a reinvented and different song.
Finally, the album closer, “Song of Unborn” is a glorious return to the Wilson ballad. Nothing will top a track like “The Raven That Refused to Sing” but this is a song built with that blueprint. The vocal harmonies on this song alone might make this album worth a listen.Wilson has become a master of song construction. No song on this album is just a repeat of parts. Each song is its own story; each follows its own progression and has its own purpose. By re-examining his approach, Wilson has just streamlined what he always did and refashioned it with the hopes reaching a broader audience, while still pleasing his loyal fanbase.
There is less metal, less heavy guitars and fewer parts, perhaps parts that weren’t needed in the first place. Wilson has described his love of 80s prog-pop albums like Tears For Fears – Seeds of Love or Peter Gabriel’s So, and those albums are not a bad comparison. The misconception is that Steven even went that far.
There are a few different moments than we are used to hearing, but perhaps not even far enough to crack through that ever elusive mainstream ceiling. Prog or not, ‘To The Bone’ is another masterwork by one of the greatest artists of our time and every bit as inventive and exciting as anything he has ever done.The Prog Report review. Debate raged around the RMR offices. It was all about an outrageous non-metal album floating out there in the not-so-rocky universe and covered in brightly colored stars. And you heard the hype, right?
Don’t we just all love conspiracy theories? Mysteries yet unsolved and deliciously unsolvable?The rumor had it that Steven Wilson and his newest full length To The Bone would be pop. So pop that all metalheads and prog nerds would have to hang their heads in shame upon starting with the record. All of this complete with bright colors and funky videos, Dark Horse style. Okay, RockmusicRaider was guilty too.
Shooting off a few bad wisecracks about the terrible album to come out and how it was going to be so Amaranthe at worst and Taylor Swift at best. And of course, there was always the expectation that nobody could best Hand. The outcome is – somewhat expectedly – not quite a pop album.Or is it?Well, first of all, scents and tastes of the ’80s pop and rock scene coalesce on this record. And this is indeed what Steven Wilson so ably threatened. A selection of tunes, stuff we all loved or at least lived with during those times. Of course only for those who were already alive at that time.
Supertramp, Fleetwood Mac, Peter Gabriel, Kate Bush to name just a few. And forgetting other more ludicrous specimens all kind of mixed into an amalgam of poppy delights.Yet, whilst pop is the painting in all its gaudy, shiny colors, Alternative and Progressive Rock is the frame. And a very sturdy frame at that. So, all of those ramblings about a descent into the 20th circle of pop hell just evaporate.
This record will for sure not torment anybody with the scarier facets of the ’80s pop culture. Garish hair styles and wide jeans included. Believe me, for I was there. This feels like Back To The Future. Complete with the mad professor and a snazzy DeLorean that can fly.But let’s come back down from re-litigating old, very dead movies. If not we’ll end up discussing Mad Max all of a sudden. Different blog, folks.
So, back to Steven Wilson and his very own nightmares. But Steven Wilson still pulls at them terrible pop levers down To The Bone!And not all of them are good ones. Some of that stuff really makes you wonder in what friggin’ box of horrors in the attic he found them. Like in the Song of I that messed up my Sunday roast with some mixture of KC & The Sunshines and – get ahold of something – Depeche Mode. Unhappily, this is the track ft. Sophie Hunger, whom I respect a lot. Or there is this thing called Detonation.
Creative freedom, grave subject et al understood, but what the fuck! Almost 10 minutes of monotonous torture for yours truly. Creativity gone to the deep South.
In some sense, this track is the flotsam bobbing in the wake of this mighty ship. Yet you gotta give it to him: It is technically outstanding, very good flotsam. Endless jazz loop from goofy radio included, dammit.There, I said it. With the Bad Karma thing finally out of the way, the rest is astonishingly good. It starts with To The Bone (the title track).
Contrary to the latest of Dirty Sound Magnet that is similar to this, but still in search of itself, Steven Wilson delivers an accomplished piece of Alternative Rock. Or Creative Rock in DSM speak. And holy cow, the flow in this track is astonishing. The move from monologue to a creative jazzy kind of soft rock is mind-blowing. With a nod to the Rolling Stones and Sympathy To The Devil through the percussion, no less.And this is one of the strengths of this album and speaks to the outstanding song writing qualities of this band. To The Bone never copies any tune or band outright.
The band dishes out subtle references. It is a flavors and scents thing, like a perfume maker on the prowl. You’ll hear many similarities. To the aforementioned bands, but also bands like Pink Floyd, ELP (Emerson, Lake & Palmer) and many others.Now, let me point out the second track Nowhere Now that got a straight 10/10 on the track list. This is a gulp of fresh air in the Alt-Rock arena, even if the lyrics speak a totally different story. Pariah with Ninet Tayeb in a guest contributor role is a disturbing piece of work, yet one of the better tracks on this album.From then on, the oomph kind of lets up.
Jacked up emotion and sad drama, you’ll see a subtle, but steady decline in To The Bone. Yet, let me point out People Who Eat Darkness. First the track embarks onto the punky road, just to deliciously disintegrate into the alternative universe of the prog kind. This one is probably the rockiest of all them tracks on this album. But also one of the most disturbing ones alongside with the aforementioned Pariah.So, how cvlt will To The Bone be in the future?It will depend on the eyes of the beholder.
For some of the fan crowd, this jambalaya of sounds and flavors already got cvlt status. In line with some of the crimes committed by Peter Gabriel or Kate Bush in the distant past.
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For others, it will totally suck – not metal and far out there in the silly galaxy.In truth, however, you need to give Steven Wilson credit. Credit for having created a pretty varied, perfectly engineered piece of Alternative and Progressive Rock. Revisiting old places with through thoughtful musical interventions. And this by creating colorful soundscapes without succumbing to the urge to lather all those tracks with a ton of cheese.
With greasy hair styles to boot. So no, To The Bone is no pop album, yet it sports a pop lining for sure.To The Bone is definitely not your usual hamburger with fries, neither. This is a gourmet menu, best consumed in small portions and over a number of courses. So, yes, there is a fair chance that this album will – in time – obtain the same cvlt status than The Raven that refused to Sing. But it will not be able to blow Hand. To smithereens.
No sir, it won’t. By RockmusicRaider.
Country: CzechiaGenre(s): Progressive RockLabel: Progressive GearsFormat: CD, digitalRelease date: Autumn 2019Tracklist:1. The Message2. Spectres and Permanent Apparitionsi. Two Shadowsiii. Small Merciesiv. Hand of Providencev. On the Borderlinei.
Talking to Strangersii. Now just go awayLine-up:Trevor Tabone: vocals, keyboardsPetr Lux: guitars, backing vocalsJirka Matousek: bass guitarDavid Filak: drumsWithLucy Lux: backing vocalsLinks. Country: UKGenre(s): Space RockLabel:Format: CD, vinyl, digitalRelease date: October 25, 2019Tracklist:1.
Flesh Fondue2. Nets Of Space3. Last Man On Earth4. We Are Nom Dead. Only Sleeping5.
All Aboard The Skylark6. 65 Million Years Ago7. In The Beginning8. The Road To.9. The Fantasy Of FaldumBonus CD 'Acoustic Daze'1. Hymne To The Sun3.
The Watcher4. Generator Door5. Into The Night7.
Down Through The Night8. Flying Doctor9. Get You Act Together10. Ascent Of Man11. We Took The Wrong Step Years AgoLine-up:Dave Brock - guitar, vocals, keyboardsRichard Chadwick - drumsNiall Hone - bass, keyboardsMagnus Martin - guitar, vocalsLinks. Country: AustraliaGenre(s): Instrumental Post Rock/MetalLabel: Bird's Robe Records (Aus), Translation Loss (US), Holy Roar (UK), Dunk!Records (EU)Format: CD, digital, vinylRelease date: October 1, 2019 (digital), October 4 (Aus), October 25 (US, UK, EU)Tracklist:1. A Beautiful Collapse3.
Parting Ways5. Distant Shores6. The Last Sun7. Mother's HymnLine-up:Matt Harvey - GuitarsMark Owen - GuitarsCarl Whitbread - GuitarsKieran Elliott - BassMathew Kelly - Piano and SynthsNathaniel D’Ugo - DrumsWithEllen Kirkwood - Trumpet (3, 7)Ron Pollard - Mellotron (1)Media/SamplesLinks.
The death of Clearchannel Entertainment.' An idea sanctuary in action' -'In terms of pure quality to post ratio, nothing on reddit even comes close to listentous.' -Visit our sister subreddit,! WELCOMEis just another music subreddit.Wait, no, it's the best damn music subreddit. What makes it so great? Our submitters, our voters, and you.
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Participate in elections and help everyone discover and share the best musics!Elections happen monthly and votes from the community determine which 7 entrants get the privilege of being submitters for the next month. Elections begin on the 1st of every month.Do you have the best ever taste in music? Prove it by entering an election! See for how it's done.RULES FOR SUBMITTERS. Only one post every 24 hours.!. No tracks over 27 minutes.
No 'hits' or corporate bullshit music.YOU MAY ALSO ENJOY- dancing about architecture- global musicology- sounds o' N'awlins, not the smell- soulful electro hip-hop beats- full, live concerts- old, rare and awesome- songs for daily topics. EDIT: Voting is now CLOSED! See for the results!EDIT: Entries are now closed and you can now vote on your favorite submissions. To vote for an entry, simply reply to it with a comment that says ' vote' (make sure it's bolded!). You can vote for as many people as you'd like. Voting will end next Tuesday, the 8th.
For your listening convenience (the RES expand-all feature will give you less-than-ideal results). Vote away!Chances are, if you're a human being and you have eyes, you've been watching the World Cup the past couple weeks. U-S-A!) The entire world setting aside its bickering and coming together to find solidarity in the Beautiful Game-it almost brings tears to your eyes, doesn't it? Rarely do we get a chance to see such inspiring corporate sponsorship brothership across borders.But surely futbol isn't the only place to see the divisions of the world broken down. Doesn't music do that too? That's our theme for this month's election: the world in music. Not these disparate countries in music, but the world.
Sorry, Lee Greenwood fans, but you've gotta expand your horizons, no matter how proud you are.A quick rundown of our time-honored rules:. You will be limited to 3 songs. As per tradition, for these three songs you will choose one catchy, one popular, and one obscure. If you truly have no maturity and self-control, one bonus song will be permitted, but it's gotta be good. You may write a 2-3 sentence blurb explaining each song, as well as a 2-3 sentence biography of yourself, if you feel like it.
Anyone may enter the election, and anyone may vote. You may enter as soon as this post is submitted. Entries will end and voting will begin on Saturday, July 5th. To vote on an entry, simply reply to it with a comment that says ' vote'. Make sure you bold it, and don't vote before the 5th!. Voting will end and winners will be announced on Tuesday, July 8th.Citizens of the world, good luck!.
Obscure:Jangle Pop, UK, Home Recorded (1985)This cassette got a lot of time in my car's cassette player. It's a great summer song, and often gives my bouts of nostalgia.Popular:Atmospheric Synth, Italy, Soundtrack (1979)WFMU listeners will recognize this as the weekly opening track to the 'My Castle of Quite' program. It's an excellent track, I especially like the layers of the sounds and how its strangely eerie and catchy at the same time.Catchy:Rock, Israeli, Slight Prog elements (1973)I was lucky enough to find this one in the $2 bin at my local vinyl shop. The entire album is great, and apparently it's fairly popular in it's home nation. Catchy: Dub (2008) Dub Colossus play music that grew out of Jamaica, via Ethiopia and the UK.
This track has incredible horns and an amazing vocal performance.Obscure: Rap/Hip-Hop (2007) Chaos theory in rap form, this song starts an ends with a butterfly, in between encompassing the killing of a Saudi embassador, trade restrictions in North America and World War III.Popular: Dubstep (2007)- Bringing the Punjab to Bristol, the mix of traditional singing and deep(ish) bass is surprisingly beautiful.Bonus: Glitch/ electronic (2008)About Me: Good at listening to music, not so good at writing about why I like the music I do. I mainly favour electronic (especially IDM) or hip-hop but don't limit myself to those genres.
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I haven't had the time to discover much in the way of new music in a while, but hope to use this sub as a means to begin doing so again, and helping others do the same!. Catchy:Afrobeat / Bluegrass (2011)Wilbert Roget (a composer at LucasArts) wrote this annoyingly upbeat and catchy tune for the 2011 Songs for the Cure fundraiser. It combines elements of African and bluegrass music to create a truly unique sound.Popular:Avant-garde Jazz (1970)Jazz is very distinctly American music.
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It's worth noting, though, that the United States was once the 'great melting pot' of the world. Miles uses the blended, improvisational style of jazz and combines it with latin percussion and styles to, well, run the voodoo down.Obscure:The artist doesn't even list themselves under a genre, which is probably pretty accurate (2010)From the wildly creative and possibly-always-stoned Czech duo DVA comes this really bizarre track that I'm not sure how to describe. It combines found-sample percussion tracks with acoustic melodic lines and creepy vocals, to make a lonely and unsettling atmosphere that's also somehow catchy? It's cool, listen to it!.