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BASS COMMUNION

Progressive Electronic • United Kingdom


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Bass Communion biography
Active since 1994

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"...
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CenotaphCenotaph
Tonefloat 2011
$18.89
$17.25 (used)
Bass Communion 2 & 3Bass Communion 2 & 3
Tonefloat 2013
$17.84
$16.99 (used)
Ghosts On Magnetic TapeGhosts On Magnetic Tape
Tonefloat 2009
$27.42
$45.59 (used)
Bass CommunionBass Communion
Dark Matter Distribution 2007
$102.35
$79.20 (used)
Loss (CD w/DVD)Loss (CD w/DVD)
Soleilmoon 2006
$73.79
$49.99 (used)
Litany [Vinyl]Litany [Vinyl]
Single
To.Fl 2010
$20.99
Bass CommunionBass Communion
Imports 2014
$188.49
$1,629.66 (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)

3.47 | 39 ratings
Bass Communion (I)
1998
3.81 | 42 ratings
Bass Communion (II)
1999
3.94 | 28 ratings
Bass Communion (III)
2001
3.76 | 12 ratings
Jonathan Coleclough/Bass Communion/Colin Potter
2003
3.62 | 50 ratings
Ghosts on Magnetic Tape
2004
2.98 | 22 ratings
Continuum
2005
3.39 | 12 ratings
Indicates Void
2005
3.25 | 14 ratings
Loss
2006
3.59 | 19 ratings
Loss
2006
2.73 | 17 ratings
Continuum 2
2007
3.06 | 16 ratings
Pacific Codex
2008
3.46 | 33 ratings
Molotov and Haze
2008
3.32 | 28 ratings
Cenotaph
2011

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

3.82 | 8 ratings
Bass Communion/Pig - Live In Mexico City
2008
3.69 | 13 ratings
Chiaroscuro
2009
4.73 | 3 ratings
Bass Communion / Freiband
2015

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

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

2.77 | 7 ratings
Bass Communion V Muslimgauze
1999
2.57 | 7 ratings
Reconstructions and Recycling
2003
2.71 | 5 ratings
BCVSMGCD
2006

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

3.78 | 13 ratings
Atmospherics
1999
2.93 | 5 ratings
Bass Communion v Muslim Gauze
2000
2.23 | 14 ratings
Vajrayana
2004
2.96 | 6 ratings
Dronework
2004
1.00 | 2 ratings
Bass Communion / Fear Falls Burning
2008
2.03 | 10 ratings
Haze Shrapnel (with Freiband)
2008
3.28 | 10 ratings
Litany
2009
2.00 | 5 ratings
Headwind/Tailwind (with Freiband)
2009
0.00 | 0 ratings
Sisters Oregon
2017

BASS COMMUNION Reviews


Showing last 10 reviews only
 Vajrayana by BASS COMMUNION album cover Singles/EPs/Fan Club/Promo, 2004
2.23 | 14 ratings

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Vajrayana
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

2 stars "Vajrayana" is a two track EP from Steven Wilson's Bass Communion project written originally in 2001, but released in 2004. It is quite rare in that only 200 copies were released. Of course, Bass Communion is all Steven Wilson performing and playing everything. Typically, the music is made up of manipulated sounds, loops and/or field recordings and are always experimental and, in most cases, quite minimalistic. Both tracks are a little over 6 minutes.

The first track, "Vajrayana", is quite eerie with electronic tones and a throbbing percussion and some hardly discernible crackles. Sustained tones are soon added to the repeating pattern. At about the 2 minute mark, percussion stops and there are some louder tones, then the repeating pattern starts again without the throbbing percussion at first, then it fades back in. Intensity builds in what sounds like manipulated choir sounds, but they are processed so much it's hard to tell. This ebbs and flows for a while as other tones come and go. Eventually it all fades out.

The 2nd track is "Aum Shinrikyo". A pattern of 2 quick bass notes repeats with a subdued drone. This is replaced by some strange clicks and pops and then it returns again. An electronic melody made of sustained notes slowly plays over the top of this. Though it is very ambient, it has a dark cast to it with a tense atmosphere.

I find that I experience Bass Communion best when I close my eyes and just let myself get immersed into the sound. It can be like getting transported to being able to visualize scenes in my mind always being influenced by the sounds and experiences in my life at the time of listening. Otherwise, just listening to this for the sake of listening doesn't really accomplish much. I find it strangely beautiful, no matter how minimal it is, and it may seem like a waste of time to a lot of listeners, but I tend to get immersed in it.

Regardless, this EP is completely minimal, so don't expect anything except a nice soundscape. It is reminiscent of previous Bass Communion music, so it really offers nothing other than a few more soundscapes. It is hard to find, thus it is probably best suited to collectors or fans of this style of music.

 Bass Communion v Muslim Gauze by BASS COMMUNION album cover Singles/EPs/Fan Club/Promo, 2000
2.93 | 5 ratings

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Bass Communion v Muslim Gauze
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

3 stars This EP is the continuation of the Bass Communion and Muslimgauze collaboration started in their album. This EP takes the last two tracks that were completed by the pair, each at almost 10 minutes.

"Six" is more of a trance-like composition with a repetitive tribal rhythm and the atmospherics from BC's ambient music. As with the album, there are plenty of electronic clicks and pops added into the mix. It definitely has a danceable trance vibe throughout it's entire length.

"Seven" is more ambient and experimental, with the tick, tick, pop, pop pattern. Soon, a drone comes in and takes over the pattern and a backward sounding rhythm starts and stops along with a looped electronic sequence. The drone appears and disappears at different times, but the rhythm pattern remains most of the way through.

Again, as with the album, it is impossible to determine what No-man source material was used as it is processed and manipulated to the nth degree. However, this EP is easier to listen to because it is not in such a large dose as the album. If you can find this EP, it would be smart to begin with it to see if you like this combination of Muslimgauze's noise rock and Bass Communion's ambience and then you can progress to the longer album. As for me, again, it is too repetitive and abrasive with the electronic noises and percussion patterns, but it's easier to take in a smaller dose.

 Bass Communion V Muslimgauze by BASS COMMUNION album cover Boxset/Compilation, 1999
2.77 | 7 ratings

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Bass Communion V Muslimgauze
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

3 stars While recording the first 3 Bass Communion albums, Steven Wilson got his hands on a copy of one of many of Bryn Jones' (Muslimgauze) albums and was impressed with his ability to explore so many different types of music, that he sent him some of his music recorded with No-man, hoping that he would re-imagine it with his style. Bryn did this and returned it in 4 days with all the songs reworked. Steven then reworked it again and sent it back, after which Bryn did that same thing again. This went on a few times, and eventually, they came up with 7 tracks that they were both happy with. However, with the both of them busy with their own projects, those tracks got pushed to the side. After Jones died in 1999, Wilson polished them up and released 5 of them on this album. Later, the other 2 were also released on an additional EP. Originally, they were going to only make them available on a CD-R at Muslimgauze conerts, but there were so many people interested in them that they made them more widely available.

Over the 15 years of Bryn's musical career, he released over 100 albums on small labels, so the original concept fit in with his recording style. Unfortunately, I'm not very familiar with his work other than the double CD 'Blue Mosque', which utilizes a lot of world music styles centering on percussion. I have heard that his music spanned a lot of different and odd styles. 'Blue Mosque' was also the album that Steven Wilson heard that impressed him. For me, it was an okay recording, but nothing really special or ground breaking.

Which brings us to this album. The five tracks are simply named One, Two, and so on. There really is no telling which No-man songs were used since these tracks have been altered so much, that you can't tell what they are. 'One' starts out with a lot of atmospheric sounds swirling around, each one increasing in volume only to be suddenly cut off. There is a lot of percussive sounds going on too. Suddenly, around the 2:30 mark, a fuzzy rhythmic beat takes off driving this track forward. A bass riff starts off and you get a nice, upbeat modern electronic style that is almost accessible compared to most other Bass Communion music. You can hear pretty much all the instruments at one time or another in the swirling music. But one would be hard pressed to figure out what the specific source material is. It does have more of an earlier Porcupine Tree feel to it than any of the other Bass Communion albums.

'Two' starts off with some really cool electronic sounds. The sounds seem literally electronic and among them, you even hear snippets of a vocalist, but they mix in with the other sounds. This one is definitely more experimental. Some processed music glues it all together, but the tones are subdued, as if playing in another room. A pattern gets established eventually, as the effects take on a more percussive role, but not in any traditional sense. The music remains more of a repeating loop of sustained notes that slightly change pitch. This all disappears eventually and we're left with those strange electronic sounds again.

'Three' is the longest track at over 13 minutes. It takes right off with a crazy percussion pattern that starts and stops with no warning. A fuzzy tone and synthesized sounds accompany this beat. This stop/start pattern continues until you get to the 5 minute mark, then you are left with electric pulses that are subdued with sudden bursts of noise that can scare the living daylights out of you. A new, tricky percussive pattern starts at 7 minutes with the pulses continuing. A lot of the subtle differences and layers are all percussive except for some indiscernible voices and electronic sounds. Later in the track, there are what sounds like some middle eastern influences buried in the mix. The percussion gets less evasive as it continues.

'Four' is the shortest track at just under 5 minutes. It starts out quite minimal with what sounds like astronaut voices. Percussion and metallic noises fade in a looping pattern that stops suddenly and starts again. This fades out and you get a drone, some percussion and a backward sounding percussion.

The last track 'Five' has a compelling rhythm right off the bat and a repetitive guitar hook. You get the cool processed music turned into percussion on this also, making some very interesting textures and sounds. The rhythm slowly gets disassembled and reassembled with new textures and sounds added throughout.

Right away, you hear Muslimgauze's influence on this Bass Communion album with all of the experimentation with percussive sounds. This is almost always present with the atmospherics of Bass Communion. It adds an interesting layer to the music, plus it is also relies more on repetition, sometimes with subtle changes and other times with sudden and very apparent changes. It's a nice dynamic, but sometimes it can be too repetitive before there is a sudden change. Also, Muslimgauze's noise rock influence almost completely takes away the ambience and minimalism of BC's sound. Yes it is there, but harder to find among the percussive textures.

All in all, it's an intriguing listen, but not something that I can listen to very often, because mostly of the repetitive percussion. It can also be abrasive at times. I definitely prefer the Bass Communion solo albums over this, but it is still interesting to listen to on occasion. If you like experimental noise rock, then this is something you would definitely want to check out though.

 Bass Communion (III) by BASS COMMUNION album cover Studio Album, 2001
3.94 | 28 ratings

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Bass Communion (III)
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

5 stars Bass Communion III is the third album from the project by Steven Wilson. Released in 2001, it contains left over tracks recorded between 1995 to 1999 that did not fit on the first 2 albums. Most of the material was actually recorded before the first album was released, however. There are also 3 short tracks that were previously released on the album "Atmospherics" which is a collection of short tracks that were released to media companies for use with commercials and other things. That particular album collected music from this period that was edited and renamed to be used as media background music and etc. However, BC III is the 3rd proper album in the regular series.

The album starts off with "Amphead" which is over 13 minutes and recorded in 1997. It starts out as a subdued, airy drone, which builds slowly in volume. You can hear the tones all mixed in the drone as it builds and secondary noises swirl around. It's like hearing music coming from far, far away as the wind is blowing.

The next 3 tracks are the short tracks mentioned earlier, and they are collectively called "Three Pieces for Television". "Sonar" is the first of these and it was originally released on the "Atmospheric" album under the same name. It comprises a subdued thump, a somewhat unsettling scraping noise and chords from a keyboard that fade in and out quickly. Next is "Lina Romay" which was called "Night Creatures" on the "Atmospheric" album. It has a low drone, echoing noises, and a few chords that come and go. The last of this 3 part section is "Grammatic Fog", known as simply "The Fog" on the "Atmospheric" record. It has shades of "Grammatic Oil" from the BC II album. You get that eerie keyboard motif along with a drone and other sustained and tense chords. Each of these three tracks run between 2 and 3 minutes.

The next title is "Slut 2.1" recorded in 1995 making it the oldest track on the album. It is very unsettling and dark, with some very odd noises and textures. There is a repeating motif that sounds like flutes or recorders layered over each other, just slightly off. The biggest surprise here is a rhythmic trip-hop pattern that starts low and builds in intensity, giving the track a driving beat. While this goes on, drones and noises change tones and textures. This is probably the most accessible track on the album, and possible in all of the Bass Communion discography. Voices are heard in the background, but are processed so they can't be understood. This is a very fascinating track just under 10 minutes, and it helps to create some variety to the overall picture.

"43553E99.01" recorded in 1999, runs over 14 minutes and utilizes a mid-eastern sounding stringed instrument, possibly a Zither with a lot of echo where the individual notes are sustained so long that they mesh together and fade, sounding like it is coming from an empty concert hall, and along with this is a processed piano that accompanies at times and at others fills in the quiet moments. This one is very atmospheric, spatial and beautiful.

"Sickness" was recorded in 1996. In the background you can hear minimal static noises like a record playing while dissonant tones warble. Then a repeating "thump, thump, hum" starts providing percussion. Other warbling tones come in, providing a faux-melody. You get a jazz vibe from this one if you listen closely to the vibes and the tones that get down-warped. At 6:15, a high pitched non-melody starts to play on top of it all. It all stays subdued throughout, but I find it all highly inventive with it's subtle changes throughout it's 11 minute run time.

The last track, recorded in 1998, is "Reformat Spiders" and features Theo Travis providing textures with flute and saxophone. It has a run time of almost 8 minutes. It starts with what sounds like strange processed calliope music swirling around that provides the foundation, and Travis immediately provides his part with layered flutes and etc. over the top of this. The sustained notes get quite dissonant at times giving this a unique texture.

This one is the lowest rated of the first 3 Bass Communion albums, but I find it one of the most intriguing and most variable albums of those three. I still consider it one of the best of the project and, like the preceding album, it is an essential experimental and progressive electronic album. There are plenty of beautiful textures and sounds that can take you to places in your mind when you let them.

 Bass Communion (II) by BASS COMMUNION album cover Studio Album, 1999
3.81 | 42 ratings

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Bass Communion (II)
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

5 stars Bass Communion II continues in the same vein as the first album, with more ambience, layered and textured sounds, more guest sax from Theo Travis and more soundscapes from Robert Fripp. There were a few renditions, or variations, of this album, the first edition had a 2nd disc containing the re-rendered soundscapes of Fripp on 'A Grapefruit in the World of Park' and a remix of the entire album, or at least parts and pieces of it, on 'Snakebird'. The next edition got rid of the 2nd disc and added 'Grapefruit'' to the first disc. Then, in 2007, it was released on vinyl with 2 additional parts added to the Wilson/Theo Travis track 'Wide Open Killingfield' which took up the forth side of the vinyl. Unfortunately, I don't have the copy with 'Wide Open Killingfield, Parts 2 and 3', but the review will include 'Snakebird'

Just like the first album, this one starts out with a short track called 'Advert' which lasts just under one minute. It starts out with some beeps then a crashing sound that echoes for a while with harsh percussive sounds. This turns into a drone and gets replaced with a sustained musical tone and more beeps. It fades into the next track from there.

'16 Second Swarm' actually lasts longer than 16 seconds, it is over 10 minutes. It has an airy background that sounds similar to a record that is running endlessly in a run-out groove while over the top of this is a repeating motif of musical textures that sound like a mellotron slightly processed. With each repeat, variations are added and sometimes layered. Then a steady tone is introduced over this. Then a very nice fuller almost orchestral sound is added around the 6 minute mark. This is an exceptionally beautiful track as it builds into a nice spacey sound that reminds one of the expanses and loneliness of the universe. There are even shades of early Pink Floyd ambient psychedelic during the last half of the track. This is just amazingly lovely.

'Grammatic Oil' is another 10 minute wonder. Where percussion was completely absent from the previous track, this starts off with a muted percussive beat that repeats, almost like a tribal rhythm. A drone establishes itself and a mysterious repeating keyboard motif plays on top of it. Another drone is layered on top and then disappears and the motif returns. Another layer appears, a soft thump that provides a 'faux-bass'. There is a windy noise in the background the builds as the track continues, and you realize it is a layered tone as it gets more intense. Deep underneath it all, there are some odd metallic noises.

On the first BC album, there were 2 different tracks with the same name. That name reappears on this album, but at least now it is designated 'Drugged III'. At just under 17 minutes, it is the longest track on the album. It starts out with what sounds like plucked piano strings with the sustain pedal held down, giving the track an oriental feel. Atmospheric tones and sounds swirl around the plucked strings, and they become that sustained organ sound that was prevalent in the previous 'Drugged' tracks. At the 5 minute mark, strummed, echoing electric guitar chords come in and Theo Travis begins to add his sax giving a slow sustained melody of sorts, though it is improvised just like the plucked strings. Somewhere around 7:30 mark, the plucked piano strings go away while the other textures and sounds continue. At 11 minutes, the strummed guitar fades out leaving just the echoing sax and some high pitched sounds swirling around. At 13 minutes, a warm texture from processed sounds, probably an organ, comes in and builds a base again.

'Dwarf Artillery' is relatively shorter at just over 7 minutes. It starts out with a muted thump of percussion and bass with clicks and submarine beeps over it all. It slowly establishes a rhythmic pattern. A drone fades in and out as do some swirling sustained notes. Around 3 minutes, we are just left with the original sounds still keeping a muted rhythm, then an organ drone slides in with some distant metallic sounds repeating a short riff of their own. All of this stays ambient however, and gives you a nice peaceful feeling, but there is still a feeling of impending danger in the background.

'Wide Open Killingfield' is the only track not fully credited to Steven Wilson as Theo Travis is also given credit. What sounds like waves and metallic pieces being moved by the wind is what provides the basis. Over this are mid-tone level sustained notes moving in and out like the waves with some higher rusty sounds. The layered flutes and sax provide some atmospheric textures. As we move away from the waves, we get the feeling we are slowly crossing a dark and deserted landscape where there is nothing but old hunks of machinery lying about. This is the picture you get through this 13 minute track as the foreboding feeling doesn't change much throughout.

The 2nd disc contains two tracks. The first one is 'A Grapefruit in the World of Park' which is based on a soundscape from Robert Fripp (King Crimson). This is a 12 minute track that uses Fripp's layered and manipulated sounds, and layers and manipulates them even more. Those familiar with 'Frippertronics' and 'Soundscapes' will recognize the unique sounds as they ebb and recede, each time coming back with some slight variations that get layered on top of each other.

This version of the album ends with 'Snakebird', a remix of various portions of the album done by Mark Poysden of 'The Square Root of Sub'. This 11 minute remix utilizes the entire album as source material for the remix. All of the electronic tones, textures and noises are reimagined in this track to create a new track. You will recognize some sounds, but others are even processed and manipulated even more to give new insight and feeling. Quite an interesting track.

The first part of the album is the best, as it is closer to a traditional sound, but still very experimental. The 2nd half is much more experimental and ambient, but a genius recording nonetheless. This would be a good starting point for those curious about the Steven Wilson project, but just remember to not expect typical SW music. It is still a non-traditional musical experience that is best heard with headphones, eyes closed and mind opened. As far as progressive electronica and experimental music goes, I consider it an essential album.

 Bass Communion (I) by BASS COMMUNION album cover Studio Album, 1998
3.47 | 39 ratings

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Bass Communion (I)
Bass Communion Progressive Electronic

Review by TCat
Prog Reviewer

4 stars For those that don't already know, Bass Communion is Steven Wilson. Now before you get all excited, for anything under the Bass Communion title, don't expect music similar to Porcupine Tree, No-man, or most anything directly under Steven Wilson's solo albums. You will be disappointed if you expect that you are going to hear that kind of music. What you will hear are experimental tracks, most of them very long and ambient, minimal and dronelike. If you expect that, then you are going to know what you are getting into. So many people see SW's name attached to this project and come away frustrated and disappointed. However, if you know you are instead going to get textural, audio-paintings, then you know what to expect and you will find that BC is some of the best of this type of recording around.

This is not music in the traditional sense as much as it is soundscapes with a lot of experimentation. They are long works, designed to but you into some type of space or environment. They are great for meditation or for just enjoyment. I find them most effective if you close your eyes, and let the music take you wherever your mind wants to wander under the influence of the sounds.

I believe the first three albums in particular, named Bass Communion I, II, and III, are the best entry points to determine if this music is for you. These first albums have more of a musical quality to them, while the later albums, for the most part, are more experimental and ambient. SW wanted to do soundscapes similar to the more ambient and experimental works of Tangerine Dream and Vangelis, but he does it with very few synthesizers, relying more on source material that has been processed, manipulated and layered. Some of the tracks are original while others rely heavily on source material and field recordings that have been manipulated.

So now you know what you are getting into here, let's take a look at this album 'Bass Communion I'. We start off with a very short track, just over a minute, called 'Shopping'. It sounds like a needle being dropped on a record, then the crackling noises of the record playing. There are very soft sounds playing in the background that you have to listen closely for, just sustained chords playing.

Next we have 'Drugged' which features saxophone work by Theo Travis. It seems to be an improvised and dissonant performance. Soon, the music is layered on top of each other. Around the 2:30 mark, more sustained tones come in, sounding like an organ, but they could be just slowed down sax layers. These are the only sounds playing for now, no percussion or anything else. This sounds a lot like Paul Winter's more ambient music. It is very peaceful and soothing. This continues until the 9 minute mark when single strummed and sustained guitar chords suddenly start. This all fades after 13 minutes.

'Sleep Etc.' comes next with some layered sounds. There is a texture like a watery sound which could be processed static or something. Chimes with manipulated tones play over the top, with a 'wet' percussive noise continuing along. Lower bent drones fade in and out like a foghorn and slowly become more prominent. At about the 6:30 mark, there are echoing percussive noises that become audible. As the drones become more prominent, there is a feeling of foreboding. After 13 minutes, these sounds all fade. 'Orphan Coal' starts off with a rhythmic, percussive pattern, that sound almost like congas. Textured musical sounds, a beeping noise and echoing, wordless vocal sounds come in and out, along with a strange sudden percussion that appears to imitate the vocal sounds. At 3 minutes, sustained chords fade in and out. Soon after, a 3 note bass pattern also repeats on occasion. The repeating percussion suddenly drops out of the mix at the 7:30 mark, and the other sounds continue until they fade after 10 minutes.

Finally, there is one more track, also named 'Drugged' like the 2nd track. This one goes for over 24 minutes. It is based on a 7 second looped Soundscape recording made by Robert Fripp. The atmospheric feel of this track comes from the processing and manipulation of that recording, where sounds are drawn out and shortened in different ways. It even sounds like an organ playing over the top of the layers, but again I don't know if it's an actual organ or just processed and sustained notes. Like the first 'Drugged' track, this one is blissful and serene. It also gets more musical as higher notes come in and swirl around in the mix. An almost vocal sounding layer is added in also, giving everything a spatial quality. As time passes, the sounds vary slightly and also swell slowly.

Overall, this is not music you listen to in a traditional sense, but it is music that will bring on a peaceful feeling. It is mostly ambient, so go into it knowing that. The slowly changing sounds cause the music to flow forward and will send your mind into bliss if you allow it to. Again, if you are curious about this music, then these first 3 albums are the ones to get for first-timers to see if it appeals to you. Lovers of the more experimental Tangerine Dream music or Labradford's music will also love this. This is top quality ambient and experimental music, both of the 'Drugged' tracks being worth the price of admission, with the other tracks included to supply variance. But, as I said at the beginning, don't come into this with any expectations of past SW music, and maybe you will find it touches you also. In addition to this, try to not notice time passing and things will be more effective.

 Litany by BASS COMMUNION album cover Singles/EPs/Fan Club/Promo, 2009
3.28 | 10 ratings

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Litany
Bass Communion Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

3 stars This is one of the higher rated BASS COMMUNION albums out there and this happens to be a 22 minute EP. This was released in 2009 and Wilson decided to use choral and vocal samples and put them on a loop. It really does seem like we hear the same sounds from start to finish. I should really like this but right from the first listen I knew this wasn't for me surprisingly. Reminds me of my thoughts of the latest BATTLEFIELD album where I felt I should like this haunting music but I didn't. Weird! Maybe if Wilson decided to use mellotron choirs instead and mix it up a bit, I don't know. We get two tracks the first at 6 1/2 minutes and the second at 15 plus minutes and as I said earlier they both sound the same to me. I just never looked forward to playing this even at only 22 minutes. Check it out though if your into eerie music because most seem to love this one. 3 stars.
 Bass Communion / Freiband by BASS COMMUNION album cover Live, 2015
4.73 | 3 ratings

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Bass Communion / Freiband
Bass Communion Progressive Electronic

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars This limited edition release is a recording of a short live set Steven Wilson and Frans de Waard played together in their respective guises of Bass Communion and Freiband in 2014. Wilson was invited by de Waard, who he had previously collaborated with on "Haze Shrapnel" and "Headwind/Tailwind" remixing each other's work, to participate in de Waard's Brombron project, wherein Wilson would hole up for a week in Nijmegen with another ambient/drone artist, Thomas Kroner, to work together and play a live set. In the middle of this, Kroner had to take a short leave of absence, so Wilson and de Waard quickly cooked up a couple of compositions that they then played live to a small number of invited friends and colleagues at Extrapool, and which was recorded to stereo for us by Raymond Steeg.

Side one is "Courage", a piece done much in the vein of their previous collabs. It is based off of de Waard's then embryonic track "Courriere", and is a drone and light noise piece. It starts with a few percussive-esque tones, and picks up with a deep drone that carries the piece through some static and other calming sounds. It outdoes their previous work, and is a deeply relaxing track.

Side two is "Cowardice", an original composition by the two and an unexpected surprise. Noise returns to drive the piece, a little harsher and very erratic. The centrepoint of the track is a guitar that drones, shreds, and squeals not unlike something you might hear on an industrial album. Various other industrial style tones, noises, and samples close out the piece. Having come to think of it as essentially an industrial track, I find it pretty strong, not the most unique but done well and as a fan of the genre I find it very enjoyable.

All in all, this is some smashing work, giving me new hope for Bass Communion and the project's collaborations with Freiband. His solo work may be atrophying, but Wilson still has some great ideas left in him. Try and snatch up a copy of this before it's too late.

 Jonathan Coleclough/Bass Communion/Colin Potter by BASS COMMUNION album cover Studio Album, 2003
3.76 | 12 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.

 Indicates Void by BASS COMMUNION album cover Studio Album, 2005
3.39 | 12 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.

Thanks to Philippe Blache for the artist addition. and to Quinino for the last updates

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