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Review:
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While being a reverent but discreet fan of Steve Wilson
ever since seeing a PTree concert showcasing "Fear of Blank
Planet", I was extremely predisposed to be unusually harsh
with my expectations, finding enjoyment but not adulation
with his preceding solo albums (though "The Raven?" did
provide many hot chills), while "The Incident" did leave
me somewhat puzzled, like many other proggers here and beyond,
as it undoubtedly signaled some kind of temporary or perhaps
permanent finality, in regards to PTree's future. I read
some of the initial reviews and noticed the high ratings,
as well as the gorgeous artwork, followed all the gab in
the lounges, where there was talk of a surging masterpiece.
I must grudgingly admit that, once again I have been proven
wrong and deserve a guilty sentence. This latest offering
has a very designed mood that permeates all the tracks,
from beginning to end taking the rabid fan or the critical
dissenter to a new level completely, forging some new kind
of modern prog, laden with old , new and futuristic schools
and methods that will cause some serious consternation in
music land. Firstly, this is head music that just cavitates
and captivates, spanning the entire rainbow of contrasts,
from ultra-soft to 'ka-bang' heavy, encapsulated even within
one song, the colossal "Ancestral". Not only are the returning
instrumentalists deliriously proficient but they choose
to explode into some distant sonic set that defies gravity,
speed and light. The phenomenal Nick Beggs needs no more
introduction, guitarist Guthrie Govan has a level of creativity
that goes somewhere where no one has gone, yet. Keyboardist
Adam Holzman is a timid type, doing magical things discreetly,
so in my mind, he is a 'compadre' of Richard Barbieri, mood
manipulators par excellence, a savory mix of Eno and Wakeman
(he was a Miles Davis and Mahavishnu Project member in the
past) . Marco Minnerman is a beast, we all have heard the
applause and we are aware of the fame.***
My first and ongoing impression was coherently focused
on how this album was divided into mini-blocks, autonomous
musical regions firmly entrenched within an overall confederation.
There are also some linking messaging between pieces, common
denominators blatantly exposed in the lyrics on "3 Years
Older" and "Perfect Life". The mixture of past PTree glories
and current mercies. Clever and brainy, Mr Wilson.***
Showcasing a layering of styles that work well together,
"3 Years Older" is a bass heavy ramble that combines all
the talents mentioned above, Guthrie Govan in particular
shining brightly on his electric guitar, flirting with countrified
tones, 'I will love you more than I will ever show 'being
a fine example of Wilson's simple yet exciting lyrics and
an explosive instrumental part that, just as suddenly, veers
into 'pianofied' jazz. The piece then evolves into a cameo
spotlight for each soloist, starting off with Holzman's
rushing organ, pursued closely by a spiraling missile lead
guitar from Govan and even Beggs doing his Chris Squire
thingy, better than recent Chris Squire! A slight wink to
his previous PT classic track "She Moved On", off Lightbulb
Sun can and should make one smile.***
Another tasty block of songs that wink at more Blackfieldian
horizons, yet with more dreaminess perhaps, is launched
by the lovely ear candy title track, the more melancholic
"Perfect Life" and its tendency towards foolish entitlement
and sarcastic disbelief. Wilson's ongoing fascination for
apathy is not hard to understand as it has rapidly and insidiously
infected our world, rather completely. Apathy towards society,
politics, even the arts, human interaction being now ruled
by some stupid i-phone, banks screwing up deposits and withdrawals,
lack of any customer service anywhere, people in England
applauding suicide victims to jump. Apathy towards human
interaction , being now ruled by some stupid i-phone, banks
screwing up deposits and withdrawals, lack of any customer
service anywhere, people in England applauding suicide victims
to jump. Yeah, bad! Happens to fit nicely with the more
developed 9 minute long case in point "Routine", another
masterful track dripping with ennui, a spotlight on Guthrie
Govan again, his slithering axe quivering like a frazzled
leaf in agony. Someone mentioned Mark Knopfler-like , interesting
!***
The most overtly perfect tracks are actually within
another group of tunes piled up together, leading the charge
with the edgier and spectacular "Home Invasion", a thoroughly
trembling slice of fizzy prog, and featuring a lively electric
piano rant that will shock anyone listening, some brash
and rash guitar frills embracing the insane drum fills.
The first moments offer up a groove that sleeps between
sheets of abyss and cloud, brooding and confusing, like
fear itself. Creepy synths crawl into the delirious maelstrom,
a feverish steamrolling beat that is just plain thrilling,
as Steve sings convincingly; this is modern prog at its
finest, adventurous, sonically illuminating and profoundly
exhilarating. A slick slide guitar scours the scene of the
crime, bleeding directly into the tectonic "Regret #9",
an extended synthesizer blowout that sends shivers down
the spine, recalling the spirit of PT track "Sentimental",
well-muscled by some dynamic drum patterns and a gritty
imagery that has melancholia in abundance. For those who
enjoy electric guitar soloing, you will not be disappointed
with this scorching Govan spotlight (wow!). There is also
a nice Rush-like dynamic in the rhythmic assault, though
this piece has a special feel that defies categorization.***
The suave "Transience" serves as a gentle intermezzo
between two cannonading sections, a pastoral and spacy ballade
that reminds us of structure, contrast and expectations
being appeased. Voice, acoustic guitar rule the waves, a
solemn bass synth rumble painting the sky and serenity galore.
'It's only the start?..' he trills .***
Now "Ancestral" may very well qualify as one of Steve's
finest compositions, easily up there with "Anesthetize",
for example. An outwardly explosive soundtrack of intensity
and expression, erected within simple but effective sonic
architecture, evolving from a serene onset and slowly morphing
into a gigantic vortex of sounds. I sent this to a lovely
lady friend who was not familiar with prog and she replied
the following" I don't think I have ever listened to music
like that and to have had so much emotion evoked inside
me". Emotions, feelings, pulse and heartbeat. A raindrop
beat pushing electric piano, jagged guitar slivers, a heavily
echoed SW voice, flute in fluttering tow, the atmosphere
is intoxicating, surreal and emphatic. Lush symphonics take
this to a higher plane, rushed along by a celestial chorus,
and a Govan slither job on the fretboard. This is so amazing,
it verges on the laughable (when something musically is
beyond my capacity to comprehend, I giggle nervously). Mid
way through, the mood becomes tempestuous with clinical
weaving that would shake Robert Fripp's stool, a whistling
Holzman synth leading into a veritable mellotron deluge.
Beggs begs to differ (pun) as he adds a colossal riff to
the proceedings that has Red era KC (as well as an overt
ELP wink) stamped all over it. Minnerman slams fast, hard
and with purpose, making this a classic 21st century epic
of seismic proportions.***
Finish off with"Happy returns" the most accessible
piece, a very enchanting, typically English mood piece,
that I can admire but not go gaga over, this is the one
piece that I find needless. Perhaps due to the preceding
splendor, I just rate it somewhat skin-deep only. Finally,
a brief moody outro, almost ambient, definitely relaxed
"Ascendant Here On" will prove a perfect au revoir.***
Some will like, some will hate but no one will deny
the talent at play here. His best yet, I feel is still to
come.***
4.5 ears cannot erase***
(Thomas
Szirmay)
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