BUTTERFLY MIND

Tim Bowness (no-man) is back with his seventh solo album (as opposed to an album where he is co-credited with another, of which there have been quite a few over the years). He has had a total change of personnel since 2020's 'Late Night Laments' and while he provides vocals, backing vocals, synths, samples, ukulele and Fx there are a host of guests such as Richard Jupp, Nick Beggs, Ian Anderson, Peter Hammill and Greg Spawton among others. In many ways this is a sequel to the last release, as again we have plenty of softer moments which one can imagine him providing with Steven Wilson alongside, but there are times, such as on "We Feel" which is more dramatic, featuring fluet from none other than Ian Anderson which somehow feels both right and very out of place.

The songs are all very modern, in that they hearken back often to the Eighties as opposed to the Seventies, and often feel as if Richard Barbieri has been involved again as there are plenty of Japan-style moments or early Porcupine Tree. The result is an effective and interesting release which even my wife thinks is a pleasant listen (not what she normally says about my musical tastes). Bowness continues to produce music which is really enjoyable and very different to most withi the prog scene, and long may he continue to do so.

A very pleasant surprise from Tim Bowness' latest studio album, titled 'Butterfly Mind', as the master songwriter proposes a collection of great, melodic and highly melancholic songs that expand on his pop-prog crossover leanings, while maintaining an interesting relationship with the more electronic sounds that have been perpetrating the British musician's sonic craft over the course of his last couple of albums. It is always enjoyable to sit down and listen to the guy's haunting yet captivatingly tranquil singing voice interact with the synthy/proggy instrumental explorations, especially as they are proposed on 'Butterfly Mind', a minor triumph of minimalistic and modern aesthetics interwoven with a feeling of profound and empathy and gripping melancholy. It is worthy to mention that a cast of stellar guest musicians have jumped in on board to help Bowness make this great album.

Electronic leanings and synth-led soundscapes should not surprise anyone, given the main man's No-Man years. But the highlight for me in Bowness' solo releases is how concise he always manages to present them, on the one hand, and on the other, how emotionally and musically rich they always come out to be. 'Butterfly Mind' is no exception to this rule, and in fact, it comes off as one of the better releases of his catalogue, in my humble opinion. The more upbeat moments on the album do, however, sound more convincing than the mellower or more atmospheric numbers, like 'It's Easier to Love' or 'Lost Player'. This would certainly mean that tracks like 'Always the Stranger', a proggy electronic 3-minute long striker, the captivating 'Only A Fool', the elegant and memorable 'Glitter Fades', the main piece of the album, the 8-minute long 'Dark Nevada Dream', or the more traditional rock approach found on 'We Feel', could be indicated as the highlights, although it is fair to say that there aren't any weak spots on here.

With all of these in mind, one could conclude that Bowness' elevating new piece of studio material is an exquisitely fresh offering from the crossover side of the alternative or progressive rock umbrella, whichever you prefer. Elegance and intricacy do not overshadow the emotive presentation, the lovely melodies, or the memorable and though-provoking lyrics. An overall step-up in this discography.