STUPID THINGS THAT MEAN THE WORLD

The brighter side of Tim Bowness

Tim Bowness', 2015, "Stupid Things That Mean The World", has been silently rated, quiet well by the way. It will be hard for such a low profile and sometimes way unprog, or eclectic if you wish, project to flip out most prog audiophiles' cravings for metal, speed or fireworks.

Quiet the opposite and very much in tune with Tim Bowness' creations, this release will be mostly appreciated by prog´s crossover aficionados and his close-followers and yet it could find its way into any prog's eclectic, folk and prog related enthusiasts.

A guest list of top-notch musicians (less Steven Wilson) playing around one of the most dynamic Tim Bowness' releases in years , maybe since No Man's first releases, with impeccable mesurity and exploding creativity, each song appears as bag of surprises and exciting highlights.

Now, do not get carried away with the dynamic mentioning, I mean, Iron Maiden he is not, but his usual slow paced mood is less visited as I mentioned before, than his previous works.

And to add icing on this cake, if you still crave for more, this release has its deluxe version bonus disc that will easily add points to this project.

4.5 PA stars.

One hour, less a second (59.59). That is a pretty slick running time for a two CD album, surely not a coincidence! Tim Bowness needs little introduction, his work with No-Man (Steve Wilson's 'other' and 'longest project'), Henry Fool and countless other cameo appearances, have also consolidated his reputation that has burgeoned ever since his 2014 album 'Abandoned Dancehall Dreams' (ADD) hit the market and garnered generally glowing reviews, a redefining of a new stage in Bowness' career. I was also a huge fan of that imperial 2CD offering that frankly contained all the goods and included Steve Wilson on various instruments. Well, the thrill continues on 2015's near cousin 'Stupid Things that Mean the World' but SW is 'replaced' by none other than the legendary Phil Manzanera who worked with Tim on the latest Henry Fool album, the sizzling and all-instrumental 'Men Singing'. Phil is one of my all-time heroes as the man can do no wrong in my eyes and is a top 5 guitarist if there ever was one! Plus he is good pals with David Gilmour but that is another story altogether. Despite the impression that this is a follow-up continuation of ADD (even the artwork feels the same), there are some other differences besides Manzanera, such as the regal presence of Peter Hammill (talk about legend!) as well as David Rhodes, he of Random Hold and Peter Gabriel fame. Another treat is the sheer quality of the tracks, some total gems are to be found and heard with drooling glee. They keep a definite course between dreamy pop heavily loaded with progressive touches and highly reflective material that harkens back to No-Man days. Finally, the progression from ADD is quite evident and highly pleasurable, an artist continually hedging forward and beyond.

The show begins on a very high note, the thrilling 'The Great Electric Teenage Dream' is perhaps one of Bowness' finer moments, a short and thunderous dirge, emboldened by a marshalling drum beat and some raucous guitar rubbings that are one step away from Fripp (Michael Bearpark and Bruce Soord) , and a repetitive 'dream' insistence. This is very 'Heroes'-period David Bowie and a fabulous opening salvo.

How about a second killer song, eh? How about an old No-Man song out of the bag? Tim's usual hushed style kicks in on the sublime 'Sing to Me' which comes across as a perfect prog-pop song, piano and organ leading the way. It's devastatingly beautiful and expressive, immediately clasping your jugular and ripping it out. Very strong Steve Wilson penned song that could easily have made the grade with either No-Man or Wilson solo.

'Where You Have Always Been' is a sweeter voyage, delicately romantic and pastoral, in that oh so very English way, plucking strings in the background and a rolling piano motif that exudes nostalgia and romance. Manzanera handles the whimsical guitar parts, as well as the keyboards, since he co-wrote the song with Tim.

Time for some quirky, bass-driven fun, courtesy of Colin Edwin with the looping title track, imagine a proggier version of that superb early 90s Brit pop band The Lightning Seeds, as Ian Broudie's voice is very similar to Tim's. Swirling violins, some 'echo' guitars from Soord, and a lush but tight feel.

That celestial feeling continues with nearly 7 minute 'Know That You Were Loved' that otherwise features a classically pure and simple guitar solo, all crystal glitter and diamond dust. Bright summer colours and a shimmering shade, rolling green meadows, flushed with dewy redolence, twangy pedal steel guitar shifts from Rhys Marsh, this is reflective English country music, cowlads!

Next up, a trio of 3-4 minute ditties that are immensely expressive even though they come in small packages. 'Press Reset' offers that perennial contrast between light and shade, nice and ponderous shoe gazing contemplation that suddenly veers into tempestuous verve, fueled by a nasty upfront bass guitar line and some ferocious orchestrations that spell doom and gloom. The buzzing bass continues on the companion piece 'All These Escapes', the multi-layered voices do the piece incredible justice, cymbals caressing the ivories and laying down the emotions on some satin-laced cushion. And finally, 'Everything You Are Not' which finds itself loaded to the gills with huge swaths of choir work, lush innocence and fathomless desperation. Peter Hammill shows up on backing vocals and slide guitar.

Then we have a couple real short tracks (1-2 minute in length) that condense even more creativity within a tight sequence, one instrumental and the other mostly vocal ('Soft William') , armed with spooky lyrics 'the ghost of family and an air of defeat'. Disc one ends with the whimsical orchestrations of 'At the End of the Holidays', a curious blend of a Penguin Caf' Orchestra-like score and Tim's sweet musings on the human condition. A delightful organ rip gives this piece its letters of noblesse, stirring strings offer support fire.

Disc 2 is a brief affair, 17 minutes long but filled with talented and remixed tracks that have already been critiqued. It's just music, man! The cover and artwork are shining examples of neo70s psychedelia (think Yellow Submarine) that correctly time warps the music inside into a completely different realm altogether. Tim is on a roll.

4.5 Idiotic effects

It may have taken 10 years for Tim to release his second solo album, but just a year on from 'Abandoned Dancehall Dreams' he was back with his third. Wilson is absent from this one, but Tim is not wanting for guitarists as not only is Michael Bearpark back, but Bruce Soord (The Pineapple Thief) is also on hand to be involved in plenty of songs, and Phil Manzanera, Peter Hammill, and Rhys Marsh also get involved in that area. Mastelotto is involved in just one song this time around as Andrew Booker takes on the lead drummer role, and we also have some strings involved. Right from opener "The Great Electric Teenage Dream" one realises we are in for quite a different album to the last one, as there are times when the guitars are quite strident and driving, and the drums pushing through, not what one always expects from Bowness. It does not matter what is going on behind him though, as his vocals are always soft and gentle, with that hint of melancholy and emotion, unforced yet with real power and strength.

Contrast that to "Sing To Me", where repeated piano chords and violins are all that are required on the introduction to accompany Tim as he tells his tale. He works through many different styles during the course of this album, always with his vocals to the fore, and the result is an album which is his most dynamic and compelling to date. There are more levels to this release, more layers, yet always with those vocals at the front. Tim has a way of understanding less is more, and one of the most poignant and powerful songs on the album is "Know That You Were Loved", which has Tim singing against acoustic guitar and slide. There is no room to hide, but the simplicity grabs the listener and brings them in close. "Everything You're Not" is another special song, and not just for the presence of Hammill, but the way it commands attention even though it is delicate and gentle. Very much a songs-based album, Bowness again shows he is one of our finest singers and understands there is no need to be forceful and over the top when grace and majesty does the job just as well.