The mighty Billy Reeves talks with the equally mighty Steven Wilson on the new Kscope podcast. Enjoy. Lots of great music as well.
Tag: Steven Wilson
Two tracks from Steven Wilson’s forthcoming “To the Bone”
The tracks from the new Steven Wilson album are sounding good: “The Same Asylum As Before” and “Pariah.” Can’t wait until August 18th to hear the new album. And I’d love to see him in concert again too. He’s one of today’s best artists. We’re so lucky to have him. The new tracks are such brilliant and moving music.
Rick’s Retroarchy: Songs from the Wood by Jethro Tull
By Richard Krueger
Retrenching after the thwarted theatrical ambitions of A Passion Play, War Child and Too Old to Rock and Roll, Too Young to Die, Ian Anderson moved from London to Buckinghamshire in 1976. The Jethro Tull album that followed Anderson’s country retreat, Songs from the Wood, showcased a fruitful new path for both the writer and the band.
With Anderson’s withering cynicism relaxing (ever so slightly) into amused, skeptical acceptance of human folly, David Palmer’s energetic keyboard counterpoint refreshing the group’s core sound, and a focus on traditional British folklore and festivity (courtesy of PR guy/manager Jo Lustig and Anderson’s production work with Steeleye Span), the surprising results included increased record sales, higher chart positions, and expanded tour dates, especially in America. Parlophone’s latest reissue box, released for the 40th anniversary of Songs from the Wood, ably showcases this incarnation of Tull’s appeal.
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Pre-Order New Steven Wilson
Just about two hours ago, the pre-orders for the new Steven Wilson album, TO THE BONE, began. The release comes in four versions, with the deluxe box set being limited in number.
To pre-order from Steven Wilson’s official store, go here: https://store.universalmusic.com/stevenwilson/*/*/To-The-Bone-Box-Set/5IVP0000000
Below is the first video from the album. According to the official write up, Talk Talk’s THE COLOUR OF SPRING and Tears for Fears’ SEEDS OF LOVE serve as two of the three inspirations for the album, labeled as “progressive pop.” The third is Peter Gabriel’s SO.
10 Years Old: FEAR OF A BLANK PLANET, Porcupine Tree
Ten years ago this month, Porcupine Tree released its magnum opus, FEAR OF A BLANK PLANET. I’m sure that many of you in the progarchy community would respectfully (or otherwise) disagree with my belief that this was PT’s finest moment. Is it really the magnum opus of the band?
Or, maybe to put it differently, is it the finest moment of Steven Wilson, version 1.0?
Well, this might be the subject of a much longer post. . . . But, for now, let’s stick with FEAR.
Though much heavier than the albums prior to IN ABSENTIA, FEAR has everything that a prog fan would want. The lyrics are top notch, the album is a concept, and the playing is flawless and immaculate.
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The 10 most influential bassists, by Nick Beggs
Nick Beggs recently named his 10 most influential bassists and here are his top three:
3. GEDDY LEE
“Fronting up a band as a bass player and vocalist is a tough gig – one with which I’ve had some experience. Geddy shows how it should be done. In a power trio, every little helps and additional duties on bass pedals, double-neck guitar and synths made for a fulsome sound in his stadium filling band Rush.”
2. JACO PASTORIUS
“Also often cited as the most influential player ever, his approach to Jazz and the fretless instrument was ground breaking. It’s hard to find someone Jaco didn’t influence. The 80s music charts were populated with hits featuring many Jaco clones – and for good reason.”
1. CHRIS SQUIRE
“My biggest musical influence ever. His sound and tone inspired a legion of players. Chris’ own inspirations were Paul McCartney and John Entwistle, two players who probably influenced more than most. But for me, Chris will always be top of the list. Sorely missed.”
Tim Bowness Lost in the Ghost Light
Years ago, when I was 16 I found an organization that helped with my curiosity about progressive rock, it was called the Classic Rock Society, they were based in Rotherham (a short bus ride away from the small village I lived in at the time) and they met on a Wednesday night in a pub. Beer and prog, all within a short distance from my front door, what was not to like?
One night at the pub talking about prog music in 1995 a friend lent me an album by a band I’d never heard of called No-Man, the album was Flowermouth, and it’s mix of shifting sounds and emotive vocals was my first introduction to the works of Mr Steven Wilson and Mr Tim Bowness, and I was hooked.
Luckily I got to see Porcupine Tree not so longer afterwards, but despite following No-Man and Tim Bowness solo work, it took me slightly longer (nearly 20 years in fact) to see Tim live, with Henry Fool at Eppyfest in 2014, followed quickly by seeing him at the Louisiana in Bristol in 2015.
Bryan’s Best of 2016
2016 has been a pretty horrible year: terrorism, deaths of way too many musical heroes, the recent loss of Prog magazine and the total screwing of all Team Rock employees, personal inability to find a job… Yeah, this year has sucked.
Thankfully, despite these trials, progressive rock has continued to be the most creative and innovative genre in the music business. I always enjoy writing a “best of” list, mainly because it gives me a chance to look over the best music of the year. We prog fans really are spoiled.
Like last year, my 2016 list will be pretty big, and the order is completely arbitrary. I have a numbered top 4, but my top 3 picks for this year are essentially tied for first place. Without further ado, my favorite albums of 2016:
Best Prog of 2016, Part IV (and Final)
Well, I must admit, I am a bit sorry to have taken so long to get all my “best of 2016” out. Four parts is outrageous, even by prog standards. Too much music, too little time, too many keys on my keyboard!
So, the final part of 2016 list is nothing less than a bit of cleanup, an attempt to give coherence to a number of disparate things.
First, I want to offer a huge thanks to all of you for reading Progarchy and also to all of our writers. Obviously, we do what we do for love, not profit. But, it’s truly a community effort. Again, a profound thank you–to all members of the progarchy community.
Second, I’d like to single out three companies for making reviewing so much easier than it might otherwise be. An amazing slap on the back to Roie Avin and Jeff Wagner at Insideout! Incredible guys, incredible company. Another loud and hearty shout out to Brian Rocha of Fresno Media not only for his wit and friendship, but also for all of his excellent support. And, again to Steve Babb of Sound Resources (Glass Hammer).
Third, there are a few musical releases from 2016 that don’t fit easily into the lists I’ve offered thus far.
One album I’ve thoroughly enjoyed but have not had long enough to offer it a place within my lists is The Gift’s latest album, WHY THE SEA IS SALT. It’s extraordinary, and I very much look forward to spending more time with it.
I must also recognize Steven Wilson’s ep, 4.5, and The Tangent’s single, “A Few Steps Down the Wrong Road.” Each is simply outstanding.
Finally, this year’s progarchy audiophile award goes to Steven Wilson for his work remixing so many classic albums. Indeed, Wilson has remixed so many, it’s becoming hard to keep track of them all. But, I’d like to single out the ones that meant so much to me this year: Jethro Tull’s STAND UP and AQUALUNG; XTC’s SKYLARKING; King Crimson’s BEAT; and Yes’s TALES FROM TOPOGRAPHIC OCEANS.
Who Is This Steven Wilson You Keep Going on About?
If you’re a regular reader of Progarchy, you’re probably familiar with Steven Wilson, whether it’s as the leader of Porcupine Tree, a solo artist, or the go-to remixer of classic progressive albums. And you’ve probably raved about his work to uncomprehending friends and relatives.
Well, Mr. Wilson has just released a compilation that speaks more effectively to his artistry than any words. Transience consists of fourteen songs, clocking in at more than an hour. There’s not really anything new, unless you want to count a couple of edits, but they were hand-picked by Wilson, and as such make for an interesting listen.
All of the songs highlight Wilson’s “pretty” side – in other words, his extraordinary gift for composing a beautiful melody. The flow of the album is flawless, moving from one entrancing moment to the next. One thing that struck me was just how good his first solo album, Insurgentes, was. “Harmony Korine”, “Significant Other”, and “Insurgentes” are all included, and they really stand out.
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