STEVEN WILSON: To The Bone (PROGRESSIVE ROCK): review / opinion to read on Music Waves

Just two years after "Hand.Cannot.Erase", Steven Wilson released his fifth album entitled "To The Bone" (if we consider "4 1/2" as an EP). After appropriating different styles in each of his albums (cold and powerful dark wave with "Insurgents", crimson free jazz with "Grace For Drowning", progressive rock used as a basis for ghost stories in "The Raven That Refuse To Sing", urban and rock in "Hand Cannot Erase"), it is pop that he attacks. It is interesting to see how Steven Wilson's solo career is evolving from a music for which he has sometimes been accused of being too elitist from the first albums to a style that may be more immediate, even more accessible.

What is striking about this new album is the way in which the artist will make his music clearer while constantly keeping in mind to put his trademark without compromise. In fact, pop never left the British, including when Porcupine Tree was in business ("Lightbulb Sun", "Stupid Dream") and in his solo career ('Postcard','Hand.Cannot.Erase','Perfect Life','Happy Returns','Happiness III'). The word itself is often pejorative and sometimes too quickly reduced to purely commercial music.

Surrounded by the same team that accompanied him during the second part of his tour (Adam Holzam, Nick Beggs, Dave Kilminster, Craig Blundell, Ninet Tayeb), Steven Wilson called on other musicians (David Kollar on guitar, Jeremy Stacey - Ryan Adams, Noel Gallagher, Chris Squire... - on drums) to record this new album. According to the statements accompanying the release of "To The Bone", Steven is inspired by albums that rocked his adolescence. Thus "Permanating", the album's purely pop track, is carried by a chorus closed to Tears For Fears with a little Beatles touch, the duo "Pariah" echoes the duo composed of Peter Gabriel and Kate Bush of "Don't Give Up" in less despair, "Refuge" with a revealing title has a construction that recalls Peter Gabriel's album "Up" and "Song Of I" pays tribute to Prince with his bass reminding "Sign of Time".

Far from simply drawing on these inspirations, the Brit brings to each track of simple appearance his own set of passages that distinguishes him from standard pop, as well as a progressive touch. He adds to each track a few breaks like in 'To The Bone' with its floydian overture highlighted by Mark Feltham's harmonica, in 'The Same Asylum As Before' where guitar riffs ignite epileptically, or in 'People Who Eat Darkness', which will remind good memories to nostalgic Porcupines Tree's fans. The progressive aspect also seems to have its source in the layout of "To The Bone". As the album evolves, the songs become more dense, requiring more attention until the apogee of "Detonation" with a formidable rhythmic in its second half, completed by Pete Eckford's percussion recalling Ray Cooper's interventions (Eric Clapton, Elton John....).

Taking the risk of alienating some of his fans who are waiting for him on a particular genre but, on the other hand, betting on winning new ones, "To The Bone" enjoys a luminous production that gives pride of place to drums, bass and percussion. Guitar solos are less present than on "Hand.Cannot.Erase", but just as effective, blending completely into this new project. Has Steven Wilson found the philosopher's stone that would turn every project into gold? Once again, he shows a constant quality of writing and interpretation. Some will cry out for genius. While it is still too early to locate this album in the hierarchy, it is a great successor to "Hand.Cannot.Erase" and a high quality progressive pop album. - Official website

STEVEN WILSON

TO THE BONE

AUTRE LABEL

PROGRESSIVE ROCK