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BASS COMMUNION

Progressive Electronic • United Kingdom


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Bass Communion biography
A lot of people know who Steven WILSON is, as a musician and personality, also knowing - always, actually - what's his pivotal band: PORCUPINE TREE, with its complexity of psychedelic, pop, metal and hard rock being remarkable at different times, over different periods. Steven Wilson has a number of side projects, that shine up his familiar face in the elite of rock contemporary musicians and his natural gift or interest in many projects and collaborations (approached, perhaps, from his multi-instrumental skills, though he doesn't vary the music much from one band to another, except when the concept is totally different and needs a really abstract approach): BLACKFIELD, NO-MAN or IEM ("Incredible Expanding Mindfuck") leading the way, with mainstream, different or interesting rock music. His strong ideas of hypnoses, trances, sequences and soundscapes, melded in a process and a healthy band called BASS COMMUNION, doesn't differ much from the above-mentioned main interest in building a great side project (out of scraps, most likely); it almost shows however a Steven Wilson like never before - not a rock musician, not a mainstream-hardstream magician, not a concept riddler, but an electronic phaser and a pretty distinguished electronic technician, leaning on music that makes the rest of the art.

Everything noted down until now should actually be of no surprise to a Steven Wilson fan, BASS COMMUNION's length of music and artistic endeavour being familiar and taken in account by many of those who plug heavily into PT, NO-MAN or IEM. The different tone comes not in how Wilson's independent work fine-tunes with the heavy stuff of his mega-bands, but in how his independent work has an independent vibration as well, without referencing back to the music of other projects. Nothing from the psychedelic long shot "Sky Moves Sideways", the trippy-abstract-electronic "Voyage 34" or the dark-rock instrumental jam "Metanoia" (all PT albums) indicates one bit what kind of electronic dreams is Steven Wilson creating through BASS COMMUNION. Maybe only IEM shares some psychedelic, "krautr0ck" ideas in a similar way, but the music up there is called "self-indulgent" by way too many voices.

More about how BASS COMMUNION shapes up can be read in reviews or important interviews Wilson gave. The interest for noise, electronic or krautrock experiments started through a serie of "cassette duets" with Simon Vocking, back in the 80s, the influences to these rudimentary b...
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Loss (CD w/DVD)Loss (CD w/DVD)
Soleilmoon 2006
Audio CD$35.79
$16.99 (used)
CenotaphCenotaph
Import
Tonefloat 2011
Audio CD$11.99
$12.12 (used)
SplitSplit
Important Records 2015
Vinyl$26.25
$31.68 (used)
Ghosts On Magnetic TapeGhosts On Magnetic Tape
Import
Headphone Dust
Audio CD$39.99 (used)
Bass CommunionBass Communion
Import
Dark Matter Distribution 2007
Audio CD$12.99
$23.98 (used)
Bass Communion 2 & 3Bass Communion 2 & 3
Import
Imports 2013
Audio CD$37.99
$18.20 (used)
Bass CommunionBass Communion
Import
Imports 2014
Audio CD$235.34
$141.20 (used)
Pacific CodexPacific Codex
Box set
Equation Records 2008
DVD Audio$74.97 (used)
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BASS COMMUNION discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BASS COMMUNION top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.38 | 29 ratings
Bass Communion (I)
1998
3.56 | 29 ratings
Bass Communion (II)
1999
2.94 | 17 ratings
Bass Communion (III)
2001
3.83 | 10 ratings
Jonathan Coleclough/Bass Communion/Colin Potter
2003
3.60 | 40 ratings
Ghosts on Magnetic Tape
2004
3.47 | 18 ratings
Loss
2005
3.50 | 9 ratings
Indicates Void
2005
3.00 | 19 ratings
Continuum
2005
3.20 | 12 ratings
Loss
2005
2.68 | 13 ratings
Continuum 2
2007
3.08 | 13 ratings
Pacific Codex
2008
3.46 | 24 ratings
Molotov and Haze
2008
3.28 | 22 ratings
Cenotaph
2011

BASS COMMUNION Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.73 | 6 ratings
Bass Communion/Pig - Live In Mexico City
2008
3.80 | 10 ratings
Chiaroscuro
2009

BASS COMMUNION Videos (DVD, Blu-ray, VHS etc)

BASS COMMUNION Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.00 | 4 ratings
Bass Communion V Muslimgauze
1999
2.50 | 4 ratings
Reconstructions and Recycling
2003
2.69 | 4 ratings
BCVSMGCD
2006

BASS COMMUNION Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.76 | 10 ratings
Atmospherics
1999
2.75 | 3 ratings
Bass Communion v Muslim Gauze
2000
2.30 | 11 ratings
Vajrayana
2004
2.92 | 4 ratings
Dronework
2004
3.00 | 2 ratings
Bass Communion / Fear Falls Burning
2008
2.00 | 7 ratings
Haze Shrapnel (with Freiband)
2008
3.83 | 6 ratings
Litany
2009
1.98 | 3 ratings
Headwind/Tailwind (with Freiband)
2009

BASS COMMUNION Reviews


Showing last 10 reviews only
 Jonathan Coleclough/Bass Communion/Colin Potter by BASS COMMUNION album cover Studio Album, 2003
3.83 | 10 ratings

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Jonathan Coleclough/Bass Communion/Colin Potter
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

4 stars This is quite the study in ambience and minimalism. Jonathan Coleclough is a electronic drone master and minimalist with several recordings and collaborations, Bass Communion is, like many here already know, Steven Wilson's very experimental, electronic project and Colin Potter who has done a lot of work with Nurse With Wound. This is an album (a very lengthy one at that, over 2 hours) with a collection of the three artist's collaborations. Those familiar with Bass Communion will understand what the music is all about, especially for the 2nd track, which is the best one in my opinion, not just because it is mixed by Wilson, but because it has the most movement and activity.

For those that love the minimalist/ambient sound, this album is one of the best. It requires a lot of patience, of course, but if you are just sitting there listening and drifting with the music, it is very sublime. The first track is "Passed" which is based on source material from Bass Communion and is mixed by Potter. This one is based on a drone sound with movement and sounds flowing in and out around the established ground. There is some interesting things going on here, but it mostly sets the mood for whats coming. The 2nd track ("Yossaira")is based on source material from both Potter and Coleclough and mixed by Bass Communion. This one is the most interesting, but if you are using this CD to get a quiet atmosphere, this one (and the next track) probably have more involvement and movement than the rest of the album. This is more industrial sounding ambience, quite metallic and spooky, a lot like BC's earlier material. Those familiar with BC's style will recognize it as Steven Wilson's involvement. The main sound here is a constant descending drone which recharges itself and then descends again with a lot of variation in the sound. Other noises weave around the drones and at times, the drones disappear completely and we're left with natural sounds as birds, water, etc before it returns in another variance. This lasts for a very sublime 24 minutes which sails right on by as if time is not involved. Simply amazing and worth 5 stars in and of itself.

The 3rd track is another Potter mix from Bass communion source material called "Raiser". This one is the only track with some semblance of quite percussive rhythm, but you will notice early on that the rhythm only has trivial impact on the sounds going on around it. Probably the brightest of the tracks, though still ambient. This is also the shortest at 8 1/2 minutes. The next track is from source material from both Bass Communion and Coleclough and is mixed by Coleclough. This is a 27 minute drone which doesn't seem to change much except for cycles and dynamics. This was a hard one to concentrate on, but would be a great atmospheric piece that would induce calm.

The last track is source material from Bass Communion again with Coleclough as the mix master. So many reviews (at various sites throughout the internet) praise this track. At over 70 minutes in length, Coleclough takes two sources from BC's excellent "Drugged" track and slows it way down to where it's unfamiliar, and turns it into a drone with varying tones, dynamics, and feelings. It has been said that this track will definitely influence the room wherever it is played. It is calming, peaceful, and a perfect example of space minimalism with a slow, slow melody. The sudden changes in tone that take place after 12 minutes have elapsed will pull you in to a different state of mind. This music is trippy, to say the least, but the music is the only drug you need here. Simple and beautiful, harsh and calming, those are the best words to describe this. When the 49 minute mark is passed, you will hear a sudden change where the processing layers are taken away and the tones are bright and not so layered. At this point, it is like you have emerged into lightness. This is something that must be experienced by those with patience and an open ear for beauty.

This is not music in any traditional sense, these are soundscapes, so be ready for that going in to this. The music needs to be listened to through headphones, or in a place where there are no outside influences to disrupt you. That will give you the best results and you will find yourself taken away into deep realms in your mind. I know, sounds corny, but music as a drug is a lot safer than the alternative.

This is not the best collection or album that BC has been involved with, but it is still excellent. I prefer the sounds of BC as far as ambience and minimalism is concerned because the music has more of a feeling of passage and movement. However, I enjoy this one on occasion and it is a great example of music that is influenced by the sonic pictures of Tangerine Dream. This is where that style has progressed to and lovers of that era of TD will enjoy this immensely.

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 Indicates Void by BASS COMMUNION album cover Studio Album, 2005
3.50 | 9 ratings

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Indicates Void
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

4 stars Bass Communion represents Steven Wilson's most inaccessible music. Typically, what it is, is very experimental music, usually taken from different sources and processed electronically. There is a lot of drone work, usually not a lot of percussion, and when it is, it is very sparse, very little movement, experiments in sound and creating art with sound in a new and exciting way. This works well with some of BC's experiments, while others just don't seem to accomplish much. For example, Bass Communion II and Ghosts on Magnetic Tape are both masterpieces.

This album is called Indicates Void, and it is made up of four tracks, each track named after the source instrument(s). The instruments create sounds and SW processes them into these soundscapes. That is really what these tracks are, not your typical music, but a set of soundscapes, painting with sound. The album overall is one that is best served up through the headphones as either background music, or listened to with total concentration and no interruption. The tracks are mostly quite beautiful and well constructed.

The album starts out with "Guitar" which is more of a drone than any of the other tracks. It really is the least interesting of the 4 tracks and doesn't seem to have a lot of direction or highlights throughout it's 10 minute duration. Mostly a typical ambient piece. Then comes "Clarinet" that starts out a little more harsh and abrasive than what you would expect, but as the piece continues, it gets more interesting, and considering the source material here, there are some very surprising sounds. There are some passages where the source is obvious, yet processed to still give some odd textures and pleasant sounds as the harshness becomes less. Underneath all of this is some intriguing drone work.

The next track is "Voice - Musical Box". This one is the most intriguing and amazing track of the four and also the longest. There are obvious music box sounds, but these mixed with the drone of harmonized wordless vocals which seem to constantly rise up a scale, but never seem to get there. Quite an amazing experiment and definitely the highlight of the album as there are textures here that are quite awesome and create an amazing texture. Last of all, we have "Piano - Soprano Saxophone" Don't expect any piano solo here, again the piano is used to create drones and textures while the saxophone is more obvious (played by Theo Travis by the way) and it is used as improvisation over the drones. This one is quite peaceful and beautiful creating a very relaxing atmosphere.

So this BC album really works and is quite good, but please understand that it is not typical music, not by a long shot. This is not driving music or anything resembling melody exists here. Many listeners probably won't understand this style, but these pieces for the most part are amazing masterpieces of sound. This one is highly recommended, but falls a little short of being a masterpiece because of the 1st track. Other than that, this is a very original work that should be searched out. Quite beautiful and original and some of the passages are the most amazing soundscapes created. Almost a masterpiece, but not quite there.

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 Headwind/Tailwind (with Freiband) by BASS COMMUNION album cover Singles/EPs/Fan Club/Promo, 2009
1.98 | 3 ratings

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Headwind/Tailwind (with Freiband)
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

3 stars The EP called "Haze Shrapnel" by Bass Communion consisted of 1 track that was an outtake from "Molotov and Haze", the outtake being called the same as the ep title. The 2nd track that was added to this EP was a remix done by Freidband. That EP was so minimal that it went nowhere, just plain droning with a few tones weaving in and out, there was a reason it was an outtake, and the remix was even less than that consisting only of the drone.

This album "Headwind" is a companion EP to that "Haze Shrapnel EP. Except now the main track 'Headwind' is an original track done by Freiband and this time Bass Communion (Steve Wilson) does the remix using only the source material. The original track is much better than the one from "Haze Shrapnel" and actually is a lot more interesting, but definitely not mainstream, not by a long way. It is still a study in minimalism, as to be expected, but the music is much better and interesting, there is direction to the overall track and more variation in the sound. The music is beautiful and trandenscent., even elevating. Great sound to use with the headphones. The remix is going to be of most interest because of Bass Communion, or Steven Wilson. The remix here is much more interesting than the remix from the companion EP. This sounds more like the stylizing of BC's own albums, except for the drone, which is an unexpected high pitch instead of the expected lower pitch drone. The pitch is not annoying, but is reminiscent of a bunch of cicadas in a tree (or maybe tree frogs, but more steady). Electronic tones and textures swirl around. The remix sounds nothing like the original here, but it is interesting how you can remix something and not add any other material and still have a very original sounding track. Also very meditative and minimal. Not quite as good as the original, but still nice.

This is not the best offering from Bass Communion, but it's still much better than the companion EP. Still, it's something I would listen to more often than "Haze Shrapnel" which is just boring. This is one of the few cases where an outtake made by Steven Wilson would have been better off not released. Not the case with this record though, this one is good enough, but it is also non-essential, there are better BC albums out there. 3 stars.

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 Haze Shrapnel (with Freiband) by BASS COMMUNION album cover Singles/EPs/Fan Club/Promo, 2008
2.00 | 7 ratings

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Haze Shrapnel (with Freiband)
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

2 stars This EP contains an outtake from Bass Communion's album "Molotov and Haze". Steven Wilson was interested in Freiband's record label called My Little Label which specialized in archival and outtake recordings and so he gave this to Freiband to release on a 3" CDR to which Freiband added a remix of the track. The EP was added to the vinyl edition of "Molotov and Haze" as a10" disc.

The first track is the 12 minute original outtake. It is a drone with other tones fading in and out, a study in minimalism as is the case with all of the Bass Communion works. This one is not very interesting however in that not much happens and nothing develops here. There is no percussion, only the lonely sounds of sparseness which eventually fades into barely discernible noises. "Scherven" is the remix which basically keeps the drone in an electronic sense and leaves out the other tones altogether, so this is even less interesting as the first. I do enjoy Bass Communion's work, but this one is just not interesting enough for me. If you are interested, you should get the vinyl edition of "Molotov and Haze" as at least you will have the music from that album to fall back on.

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 Ghosts on Magnetic Tape by BASS COMMUNION album cover Studio Album, 2004
3.60 | 40 ratings

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Ghosts on Magnetic Tape
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

4 stars This is another exploration in minimalism from the prolific musician Steven Wilson. In producing the album "Damnation" for Opeth, and writing one of the songs for that album called "Death Whispered a Lullabye", Wilson said that a song doesn't have to be loud to be evil. Well, recording as Bass Communion, and particularly on this release, SW has definitely proved that to the extreme. This is very eerie and spooky sounding music, but very ambient and minimalistic. There is no rhythm here, it is all free flowing sound.

There is nothing electronic here, it is all organic sounds, some of them processed however. Other reviewers here have stated that these are sounds from recordings of the dead conversing with the living. This is not really true. It is, however, inspired by the work of Konstantin Raudive who tried to communicate with the dead and capture the sound on magnetic tape. Notice the key word here is "inspired". The sounds here are actually processed sounds from old 78 records, processed piano sounds, crackling sounds from old vinyl (which is pretty common on BC albums), and other atmospheric sounds from drones created from various sources. As romantic or intriguing as the idea of recordings of ghosts is, it is not really true. However, the sound is still eerie and definitely does sound as if it is recordings from beyond.

The album is definitely quiet and begs to be listened to in a quiet environment in order to hear all of the musical brushstrokes that are used to paint the bleak sonic pictures that are being created here. That's what these are, as are all of BC's works, aural paintings. To me, these tracks go by quickly when I am listening to them closely. That's what I find amazing because most of BC's compositions tend to last over 10 minutes. The last track on this album is over 18 minutes.

As eerie as this is, I find it strangely soothing. It's very nice listening for when you want to de- stress yourself. The best listening method is to sit back in a dark room with a pair of headphones, make sure they are good ones because even though this is minimalism, there are sound frequencies here that can destroy a bad set of speakers.

As much as I do love the work of BC, one does have to be in the right mood for it, and it usually only works well on specific occasions. It is not general purpose music, it is more for exploration or "mental medication" if you will. I would consider a few of BC's albums as essential studies of minimalism, but this one isn't one of them. It is, however, still an excellent addition to any ambient lovers library, because it doesn't really get much more ambient than this. 4 stars.

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 Dronework by BASS COMMUNION album cover Singles/EPs/Fan Club/Promo, 2004
2.92 | 4 ratings

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Dronework
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

3 stars This is a single track of a little over 20 minutes. It was originally released on a release entitled "Twenty Hertz Droneworks" as "Drone Work #6" but this collection was withdrawn and this E.P. was released the following year. An entire collection of this type of soundscape may have been too large of a dose of this music, having not heard this collection, I can't say. But listening to this single track on it's own is a very nice experience.

This is a very atmospheric and ambient electronic drone. It is best when you are totally immersed by wrapping a pair of great headphones around your head, closing your eyes and letting your mind create a picture. This is more of a soundscape than anything else, and each time you listen your mind is free to create whatever visual it wants. The sound is amazing, but don't expect to find any melodies, any singing or any kind of structure, it's all just a flowing electronic sound with some quiet percussive noises, more like static knocking noises, as is somewhat typical of Steven Wilson's experimental project known as Bass Communion is know to do. The drone changes slowly in pitch and dynamic, flowing slowly and leisurely along, no hurry, no place to go, just a mind trip in a good way. This is soothing and you don't have to worry about any sudden explosions of sound as dynamic changes are very gradual making this a completely submersive experience. Quite beautiful, but nothing really groundbreaking. 3 stars.

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 Continuum 2 by BASS COMMUNION album cover Studio Album, 2007
2.68 | 13 ratings

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Continuum 2
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

3 stars This is volume 2 in the collaboration between Steven Wilson's experimental minimalistic project Bass Communion and Vidna Obmana. The tracks are titled "Construct" like the previous volume and numbered IV, V and VI this time. This starts out just like the previous volume with electronic ambience and starts right away painting the picture of isolation that was obvious all the way through the first volume. Once again, the music melds to your mind, even if you are playing as background and it seems you are once again travelling nowhere. But just as the numbness starts to settle in for another long hour, a guitar comes along and smashes the ambience after the first few minutes. After the mind numbing tracks that have gone before in the last volume, this is totally unexpected and if you aren't aware of this, it can scare the heebie jeebies right out of you.

The guitar remains through the track after this and plays a repeating slow hook with very little variation while underneath, the electronics continue to swirl, cascade and grow. On the 5th construct, the electronic ambience seems to have grown some and is a little more bold. Nothing much happens throughout this track, returning a little to the previous album, but towards the last 1/2 of the track, a droning guitar creeps up from under the sound and crescendos until it has almost completely taken over the track. The last Construct is similar, but the guitar gets louder quicker as the electronics play more sustained sounds and tones that are maybe a little brighter. The guitar plays a slowly descending pattern as it gets louder for the duration of the track.

So, where the 1st volume was an album with electronic ambience that for the most part did not go anywhere, the 2nd volume has a little more character and movement where the loud guitar churns and plods around the synthesized sounds. A little more interesting this time, but still not the best available Bass Communion album out there. It's still all about atmosphere, but the loneliness that was the feeling for the 1st volume is gone because of the guitar becoming a constant companion. But, is having this companion turning out to be better or worse than the loneliness? It sounds like the story here wants to suggest no, but as for the music, it does help make the slow, long tracks a little easier to digest. I would consider this a little better than the 1st, but it is a weak 3 stars.

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 Continuum by BASS COMMUNION album cover Studio Album, 2005
3.00 | 19 ratings

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Continuum
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

2 stars This is a collaboration between Steven Wilson's Bass Communion and Vidna Obmana. This is all very electronic sounding. It is ambient and tuneless. There is no percussion. There are a lot of electronic sounds and droning throughout. It is spacious, dark and leaves you feeling very abandoned. It is the sound of utter loneliness. Don't expect any movement in this music except for the last half of the last track, which could either mean a light at the end of the tunnel that you are hoping you can reach, or, most likely, just a mirage and when you get there, you realize it wasn't really there. That's the feeling you get when the last track builds your hope with movement in the music, not necessarily from percussion even though there is some non-rhythmic percussive sounds here (and only here), but then it just passes quietly away to leave you with an electronic drone, signifying nothing has changed.

The atmosphere is what this is all about. Unfortunately, it doesn't hold much to keep you interested, so it might work best as background music unless you want to just close your eyes and float. I have heard some Bass Communion which, even though it is beautifully sparse, it still has something to offer in the way of substance, though little. This usually works to the BC advantage, but not here. All three tracks (except for the end) don't really change much. I can only rate this as a collectors/fans album because it doesn't really seem to accomplish much, but what little does get accomplished has been done more effectively on other BC albums. 2 stars.

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 Cenotaph by BASS COMMUNION album cover Studio Album, 2011
3.28 | 22 ratings

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Cenotaph
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

4 stars "A painter paints pictures on canvass, but musicians paint their pictures on silence." - Leopold Stokowski

When you look at paintings, your sense of vision is used. Steven Wilson performing as Bass Communion paints with sound. Your sense of hearing is used. These are soundscapes. The music is ambient, very minimal. It is not music for entertainment in the way that we are used to using music for entertainment, that is why it is so hard for people to understand this music.

Paintings are enjoyed by looking at them, there is no time, no rhythm, no sound. They are a still portrait and we as humans can take as long as we want to look at them, but in the world of the actual painting, time means nothing. Music, however, lives more in the constraint of time. We use rhythm to help break up the timing so that we notice even more the movement of time as a song or a composition plays itself out.

These "songs" on this album and most of the Bass Communion recordings can be thought of almost like paintings, at least that's how I consider them. In actuality, it is all art. The songs have rhythm, but it's not the typical rhythm as drums, but more like percussive electronic sounds. Other sounds and textures weave in and out, flow around each other. Each sound could be considered brushstrokes for the painting. There is no picture other than what we visualize in our own mind. The picture we conjure up is what is painted on the silence, however, musicians and artists both, whether they know it or not, not only use silence or canvass, they use our memories. In music, especially this kind of minimalism, we have a lot more freedom to let ourselves be touched in a wider variety of ways than we do for standard art. We have a lot more freedom of interpretation through music. As in painting though, the more abstract the music or the painting, the more freedom we have.

I find this music very inspiring when I really sit down and listen to it, either really concentrating, or even as background music. If I listen to it like I would any other kind of music, I don't find it enjoyable, but if I listen to it by losing myself in it, or as background music, then I find I enjoy it more. However, to paint a picture that the music makes in my mind, I have to concentrate on it. This is so different from what we as humans are used to when listening to music, so it only makes sense that if we really want to enjoy it, we must find a different way to listen to it. There are no melodies, no choruses, no verses, no structure really. It is abstract. It is there for our own interpretation and it is a little harder to understand because it transcends traditional form. So, it takes more effort to understand. This is why I love progressive music so much. And this is really prevalent in this album and this type of music. Bravo Steven Wilson!

By the way, he CD version of this album uses rhythm to mark the passage of time. But the vinyl version does not rely on rhythm so much, the percussive sounds are not there or at least not as prevalent.

I'm not really sure how to rate this or anything by Bass Communion. I think there are other Bass Communion albums that would merit a 5 star rating because of the ingenuity. This one is excellent for this type of music, I guess not really essential, so I will give it 4 stars.

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 Bass Communion (II) by BASS COMMUNION album cover Studio Album, 1999
3.56 | 29 ratings

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Bass Communion (II)
Bass Communion Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars Bass Communion one of Steven Wilson's electronic music projects, which is more focused on sonic atmospheres, as such, therefore closer to the (unexistent) Prog/Electronic/Ambient tagging.

No PT, or SW, electric guitar solos or vocals, (that explains the crowd). Anyway, BC's, second, two cd, album, holds the best part of this kind of experimental electronics intentions. Imagine the atmospheres that his other bands visit in the form of "passages", , enhanced, extended and totally bared-naked.

Calm intensity, without detours. To get there he uses all his compositional talents, some parts of his darker past knowledge, his electric guitar simplified with a wah-wah pedal, and moving along very creative, wind, synth and piano atmospheres.

In addition on some tracks ("16 Second Swarm", "Drugged III" and "A Grapefruit in the World of Park"), the unmistakable presence of Robert Fripps "soundscapes". But basically, this second project is Steven Wilson (all instruments) accompanied only by Theo Travis flute and sax, as such.

A real treat , if you like the electronic-genre. The kind of work which by rule (in my book, of course) will be a part of my permanent collection, therefore the kind of record, I will recommend as a ****4.5 PA stars "mysterious, environmental electronic music" album. Enjoy!.

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