What does it sound like?:
The fourth SW album proper comes with a storyline (loneliness in the city, detachment from the world… you probably all know it by now) and the resulting songs are gorgeously evocative examples of Wilson’s craft. He’s ditched the Crimson riffing this time for beautiful melodies and some spooky ambient/electro passages; lots of proggy time changes of course, but everything is held together by a unique vision.
What does it all *mean*?
If you listen to music in your car or from your telephone apparatus, this clearly isn’t for you. This album (especially the multi-disc version) really IS an album, and it keeps you interested on so many levels: there’s the story, the 140-page book with pictures, documents, crossed-out text and narratives that add a whole new dimension to the songs. And on the additional discs are alternative arrangements and mixes, too.
Goes well with…
…all his other projects. There’s the grandiosity of Porcupine Tree, the atmospheric moods of No-Man, the dark ambience of Bass Communion, and the melodic song craft of Blackfield. Plus, Mr. Wilson plays some beautiful piano on some of the demos included (one solo reminds me of ELP’s “Like A Pebble” in its fluidity).
Release Date:
Might suit people who like…
…to sit down and listen to an album while inspecting the lyrics and the sleeve, and having a glass of whisky (or Mexican mouthwash, if you please…).
Looking forward to hear it, it’s been getting rave reviews like the intense Dom Lawson’s in The Guardian
http://www.theguardian.com/music/2015/feb/26/steven-wilson-hand-cannot-erase-review
I ordered the CD/DVD version of it last week so hopeful of an early delivery. I loved The Raven…..but personally prefer the electronic/ambient vibe of his first two albums
Hmm, how are you counting, FXB? I came to Wilson recently and have Grace for Drowning (2011), Drive Home (2013), and The Raven That Refused To Sing (2013). He certainly seems to have a lot of product. Recommendations?
Btu-Ray edition due tomorrow, good review fatima, thanks.
First solo album Insurgentes…well worth a listen, featuring Wilson on instrumentation he describes on the credits as “…total f#cking noise…” !!
Actually, his first solo album was “Unreleased Electronic Music” (on vinyl only) which was a precursor of the weird electronic soundscapes of “Insurgentes” – and the opposite of Porcupine Tree.
Actually, it was originally released as a CD-R 😉
But the Wilson discography is so labyrinthine, it wouldn’t surprise me if there was an earlier candidate for first solo album.
It’s not a light piece of work by any stretch. However, it contains passages of extraordinary beauty and fantastic musicianship .. and the keyboard solo on Regret #9 might give Keith Emerson and Rick Wakeman pause for thought thought. The subject matter is disturbing and affecting in equal measure.
For those with a penchant for prog in all its glory Steven Wilson is becoming the main man. If there is one criticism (and it’s not a biggie) .. I wish his voice was a bit ‘stronger’ or had a more distinct character. It’s perfectly pleasant, it could just do with a bit of oomph.
It’s a fantastic record. Even a burble of a Wakeman-esque keyboard in there too.
Vinyl arrived today – nice package with the FLAC, booklet and best of all polylined inners.
Can I warmly recommend Schoolyard Ghosts by No-Man which is one of the many side projects that SW is involved in. This album came out in 2008 and was re-released last year. Much more spacious and ambient in nature than Steven’s solo work of late – echoes of Talk Talk in places perhaps. Its been on the ‘turntable’ more than anything else over last few months. Tim Bowness who is the other half of No-Man is also worth checking out . he also has various project on the go but what Ive heard of the Henry Fool output is very good .
Anyone going to the Manchester gig this weekend? I’ll be there 🙂
Tell us about the gig…. please.
Had the album for a week now and really starting to enjoy it. Its a tremendously rich piece of work and I’m thinking his best solo album by far – that Ive heard anyway. He wears his prog credentials and the history of that genre firmly on his sleeve but whilst there are very clear nods to Genesis, Marillion, Yes and Crimson it doesn’t sound at all dated or derivative. Maybe a bit too much staccato sub-metallic rifferama (for me) but there are many moments of beauty that just knock you out. Some find his voice a bit weak but I think it gives the music real heart and soul.
Great stuff Steve – keep the flag flying for relevant modern progressive music and taking it into the mainstream (5 star review in the Guardian no less !)
Cripes. Arrived today. It’s bloody marvelous isn’t it?
Revisiting this post-gig. What a masterpiece. I had it last year but didn’t pay it enough attention, much as I liked it. Brilliant. Mrs. T agrees with @feedback_file on the sub metal rifferama but you then get We Live a Perfect Life so much can be forgiven with that.
I bought this album a while ago after a few recommendations from friends (including those on this thread). Much as I admired its technical proficiency, I didn’t find myself all that enchanted by it; prog has never really been my bag and his voice didn’t particularly appeal.
The album then sat in my pile of ‘recently-purchased-but-not-really-demanding-much-attention’ CDs (along with the likes of Cass McCombs, Polica and Maribou State).
A month or two ago, I dug it out and gave it another blast.
Now I think it’s brilliant and I want to hear more of his work.
#latetotheparty
The previous one, The Raven is a good next step.