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STEVEN WILSON

Crossover Prog • United Kingdom


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Steven Wilson biography
Steven John Wilson - Born 3 November 1967 (Kingston upon Thames, London, UK)

STEVEN WILSON, perhaps most widely known for his role as the frontman for the popular act Porcupine Tree , is an artist from the UK who, through his various side projects, has spanned a vast number of musical ideas and concepts. Some of the styles he has been known to utilize are heavy prog, psychedelic, electronica, post-rock, ambient music, drone, metal, and art rock. Furthermore, WILSON is intensely focused on production values, dynamic mixing and mastering, and all other sorts of building albums that sound best in high-quality systems. In short, WILSON has always been an artist that appeals to audiophiles and fans of meticulously produced music. This shows up strongly in each of his bands and projects, but it plays even more of a role in his solo efforts.

Photo by Lasse Hoile

Though some of his earliest musical recordings were demos that predated even Porcupine Tree, his solo releases did not truly start appearing until his "Cover Version" singles began in 2003. Essentially releasing one a year, each "Cover Version" contained a particularly unconventional song that WILSON chose to reproduce and one original song by WILSON. Also, in 2004, WILSON put out his experimental electronic album "Unreleased Electronic Music Vol. 1." Neither the "Cover Version" singles nor "Unreleased Electronic Music" feature any other performers, aside from some input from THEO TRAVIS on the latter.

⭐ Collaborators Top Prog Album of 2013 ⭐

⭐ Collaborators Top Prog Album of 2011 ⭐

That trend changed at the end of 2008, however, when WILSON released his first full-length, proper solo album, "Insurgentes." Featuring, among others, PORCUPINE TREE drummer Gavin Harrison, Prog bass legend TONY LEVIN, current DREAM THEATER keyboardist JORDAN RUDESS, and saxophonist/flautist THEO TRAVIS, "Insurgentes" proves rather quickly that it is not simply another ambient or electronic release. Toying with many of the styles that can be seen in PORCUPINE TREE, "Insurgentes" is a mature, laid-back album marked by less metal and more noise than PT's later albums. WILSON has stated that the album draws a lot o...
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To The BoneTo The Bone
Caroline International 2017
$6.33
$4.77 (used)
Hand.cannot.erase [Blu-ray]Hand.cannot.erase [Blu-ray]
Extra tracks
KSCOPE 2017
$13.11
$11.79 (used)
To the Bone [Blu-ray]To the Bone [Blu-ray]
Caroline 2017
$10.68
$9.74 (used)
The Raven That Refused To SingThe Raven That Refused To Sing
KSCOPE 2017
$23.60
$24.76 (used)
4.54.5
KSCOPE 2017
$10.61
$4.64 (used)
The Raven That Refused To SingThe Raven That Refused To Sing
KSCOPE 2017
$5.50
$5.50 (used)
InsurgentesInsurgentes
KSCOPE 2017
$7.97
$6.99 (used)
Get All You DeserveGet All You Deserve
Blu-ray
KSCOPE 2017
$13.13
$7.93 (used)
Transience ( Cd )Transience ( Cd )
KSCOPE 2017
$9.54
$6.27 (used)
Grace For DrowningGrace For Drowning
KSCOPE 2017
$9.98
$7.28 (used)
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STEVEN WILSON discography


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

STEVEN WILSON top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.82 | 1014 ratings
Insurgentes
2008
4.19 | 1712 ratings
Grace For Drowning
2011
4.28 | 1977 ratings
The Raven That Refused To Sing (And Other Stories)
2013
4.30 | 1410 ratings
Hand. Cannot. Erase.
2015
3.57 | 440 ratings
4 ˝
2016
3.64 | 370 ratings
To The Bone
2017

STEVEN WILSON Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.33 | 184 ratings
Catalogue/Preserve/Amass
2012
4.52 | 25 ratings
Get All You Deserve
2017
4.00 | 7 ratings
Home Invasion (In Concert at the Royal Albert Hall)
2018

STEVEN WILSON Videos (DVD, Blu-ray, VHS etc)

3.51 | 140 ratings
Insurgentes - The Movie
2010
4.61 | 300 ratings
Get All You Deserve
2012
4.69 | 34 ratings
Home Invasion : In Concert At THe Royal Albert Hall
2018

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

2.81 | 111 ratings
Nsrgnts Rmxs
2009
3.15 | 116 ratings
Cover Version
2014
3.40 | 72 ratings
Transience
2015

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

3.72 | 46 ratings
Cover Version
2003
3.59 | 44 ratings
Cover Version II
2004
3.68 | 44 ratings
Cover Version III
2005
3.42 | 52 ratings
Unreleased Electronic Music
2005
3.78 | 41 ratings
Cover Version IV
2006
3.39 | 45 ratings
Cover Version V
2008
4.49 | 74 ratings
Harmony Korine
2009
3.48 | 56 ratings
Vapour Trail Lullaby
2010
3.57 | 51 ratings
Cover Version 6 plus full collection bundle
2010
3.38 | 8 ratings
Demos
2010
4.04 | 48 ratings
Postcard
2011
3.79 | 24 ratings
Cut Ribbon
2012
4.00 | 117 ratings
Drive Home
2013
4.50 | 4 ratings
Luminol / The Watchmaker
2013
4.25 | 12 ratings
Happiness III
2016
3.53 | 19 ratings
Last Day of June (Game Soundtrack)
2017
2.40 | 5 ratings
Permanating
2017
3.00 | 4 ratings
Song of I
2017
3.25 | 4 ratings
Pariah
2017
3.20 | 5 ratings
The Same Asylum as Before
2017
2.80 | 5 ratings
Refuge
2017
3.25 | 4 ratings
Nowhere Now
2017
3.29 | 14 ratings
How Big the Space
2018

STEVEN WILSON Reviews


Showing last 10 reviews only
 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.64 | 370 ratings

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To The Bone
Steven Wilson Crossover Prog

Review by DominicS

4 stars I admit that when I first listened to some of the tracks from this album, I was sceptical due to how its more mainstream sound greatly contrasted with his two previous jazz influenced albums, 'Hand.Cannot.Erase' and 'The Raven That Refused to Sing'. However, I now come to regard this album highly in the Steven Wilson catalogue as it is a clear example of what prog rock is all about: developing or 'progressing' the sound of music. Like most of his albums, this one has its own new and unique sound which is exciting and makes a refreshing change from his previous albums ? he has progressed his own sound. Therefore, while the album may sound less progressive, the fact that Wilson has chosen to do something different makes this album stand out in the progressive world.

It is unfair to label this a pop album, like a few fans sometimes do, as that is an immature way of looking at it. The most obvious point to make is that the album features a nine-minute song called 'Detonation' ? not many pop albums include a song of such length. While this would probably please many prog fans, for me this is not the strongest song on the album. Many of the ideas in the song are repeated at different dynamics and textures which at times is highly effective and sounds awesome. However, this repetition is excessive for a nine-minute song and it would have been nice for one or two other sections to have been introduced to add a greater variety. There are definitely stronger songs on the album such as 'Song of I'. This again is not pop like at all, it is more prog due to its ambiguity and atypical three-part structure. The climax at 2:16 is a thing of sheer beauty, almost like an explosion of bottled-up emotion, featuring a beautiful string section that creates occasional dissonance against the other instruments. This then returns to how the song begun, texturally bare and full of tension ? such a fantastic contrast. Other songs from the album do a similar thing, such as 'Pariah' and 'Refuge' ? two of the strongest songs that build an atmosphere in slightly different ways. 'Pariah' follows the conventional verse-chorus structure that showcases Ninet Tayeb's angelic voice perfectly. What makes this song so impressive is the moment at 3:29 when the listener is suddenly hit by an unexpected but glorious wall of noise. It is so overwhelming, and I can't help but smile with joy when I hear it. 'Refuge' has a similar effect on me yet differs from 'Pariah' in the respect that we can hear it building to a climax throughout which succeeds in filling the listener with a strong sense of anticipation. My favourite bit of the song, however, comes at the end when all that can be heard after this immense guitar solo are these harmonically rich piano chords accompanying a harmonica and then Wilson's voice to end ? such a magical moment.

Wilson cleverly balances the album out with more upbeat and rockier songs in order to counteract the many songs on the album that are more mellow and atmospheric. 'People Who Eat Darkness' is very catchy and energetic, displaying the main overdriven guitar tone used on the album ? a superb tone that is an example of an overdrive that is clean and crisp if that makes sense. My favourite bit is the chordal transition from the verse into the pre-chorus as it is an unusual chord change that is unexpected and sounds very cool indeed. The other most obvious upbeat track on the album is 'Permanating' which seems to have divided Steven Wilson fans the most due to many believing it to be a cheesy pop song. This is an unfair judgement; yes, it is a pop song, but the chords used are not typical of many modern-day pop songs, especially the descending intro chords ? I find this interesting rather than problematic. I'm not ashamed to say that I like this song, I admire Wilson's bravery in including such a divisive song but after all he is doing what he wants to do and not allowing himself to be directed creatively by his audience's desires and tastes. I think this is fair to say about the album as a whole, he has gone in the direction he wanted to pursue despite what listeners might think. Although an album such as 'Hand.Cannot.Erase' is a masterpiece start to finish, if Wilson had created a copy of this album I personally wouldn't be as interested in listening to it because it wouldn't be anything new to listen to. Despite what people may think, 'To the Bone' is a new and exciting album with few flaws in it and much to analyse. It is a shining example of what prog is all about: developing and creating new sounds which Wilson has successfully done within his own body of work.

 The Raven That Refused To Sing (And Other Stories) by WILSON, STEVEN album cover Studio Album, 2013
4.28 | 1977 ratings

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The Raven That Refused To Sing (And Other Stories)
Steven Wilson Crossover Prog

Review by Kempokid
Collaborator Prog Metal Team

2 stars Despite repeated listens to Steven Wilson's third album, I've never been able to get properly into it, despite the fact that it has been praised as a masterpiece by many, as I find it to honestly be a tiring, somewhat dull listen. Almost all of the songs here are at least somewhat derivative of the prog giants of the 70s, often quite heavily, leading to a collection of songs that lack the same fire that the classics had, leading to a dreary bunch of songs that end up missing the mark to at least some extent. Furthermore, unlike with what normally happens with compositions by Steven Wilson, this contains a significant amount of extended solos and instrumental sections, which not only feel overlong, but also remove the emotional impact that is trying to be achieved in many cases.

A big issue in the album is the fact that many songs have some strong ideas, but then drop the ball, leading to many songs feeling somewhat half baked. 'Luminol' starts off incredibly strong for the first 4 minutes, with a great, energetic bassline with various instruments being played over the top, including an impressive flute solo. This part strongly reminds me of 'Yes' with a bit of 'The Mars Volta' thrown in as well. Unfortunately, after the extremely promising intro, the song slows down considerably, invoking an atmosphere akin to a weaker version of the song 'In The Court Of The Crimson King'. this section drags on far too long and leads to the momentum that was being built up to become lost, meandering in mediocrity for a while, before trying to reclaim what was lost at the end. Both the songs 'Drive Home' and 'The Pin Drop' are extremely tiring to me, and end up causing me to lose any interest in continuing to listen to the album past those points. 'Drive Home' is quite beautiful, but drags on far too long, especially the 4 minute guitar solo, which while very impressive, is also quite boring by the end and feels like it could have been shortened considerably. 'The Pin Drop' breaks the mold of the album by just being quite poor all the way through, rather than just for a portion of it, sounding like a budget 'Porcupine Tree' song, with vocals that are quite weak. 'The Watchmaker' is by far the biggest example of wasted potential however, as the first few minutes are incredibly beautiful and full of powerful emotion, which ends up fading during a long instrumental break, which is a major shame considering how great I find the lyrics. 'The Holy Drinker' and the title track are both fairly worthy songs however, with 'The Holy Drinker' being a fun, enjoyable prog rock track, abandoning the attempts to make an emotionally moving song, instead having the lyrics be about a priest who loses a drinking contest against the devil. While the song undoubtedly carries on for a bit too long, it is not as big an issue as with the rest of the album, and sounds mostly great. The title track is by far the best song here however, successfully doing everything that most of the rest of the album failed to do, creating an extremely powerful, emotional song with good progression and tasteful instrumental sections. The crescendo throughout is extremely slow and subtle, with the climax only being slightly more eventful than the rest of the song, but it works absolutely perfectly, producing what I can easily call one of Steven Wilson's greatest solo songs, and saves the album from being rated even lower.

Despite the immense amount of potential this album has, it drops the ball at almost every turn, and the exquisite production and interesting concept don't do enough to save the album. When it comes down to it, every track other than the title track needs to be cut in some way, since the album as it is happens to be quite bloated and uninteresting for the majority of its length.

Best songs: The Holy Drinker, The Raven That Refused To Sing

Weakest songs: Drive Home, The Pin Drop

Verdict: An album with a great deal of potential, but despite each song having some great ideas, almost all of them drop the ball in one way or another, leading to a patchy record that is bloated and downright boring in places. Since this is such an acclaimed album, I feel like I'm missing something here, so give it a listen anyway if you enjoy Steven Wilson's music, you'll probably enjoy it.

 The Raven That Refused To Sing (And Other Stories) by WILSON, STEVEN album cover Studio Album, 2013
4.28 | 1977 ratings

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The Raven That Refused To Sing (And Other Stories)
Steven Wilson Crossover Prog

Review by The Crow
Prog Reviewer

5 stars With Porcupine Tree definitely on hold and after two good albums which nevertheless failed to translate all the genius that this man showed with works like Deadwing or Fear of a Blank Planet, Steven Wilson finally released his masterpiece!!!

Because The Raven that Refused to Sing is one of the best prog records of this decade, if not the best. An outstanding album from start to finish with very weak moments inside (maybe The Pin Drop is a bit weaker, despite being a very good song) and incredible musicianship.

This time Steven Wilson finally managed to truly differentiate his solo career from the Porcupine Tree sound with a much more symphonic record, with roots in the 70's and tons of jazz elements but much more better integrated and not so boring as in Grace for Drowning.

Best Tracks: as I said, I think than The Pin Drops is a bit weaker and more inconsequential than the rest the songs, which are marvelous examples of the best prog-rock imaginable.

Conclusion: in my opinion, The Raven that Refused to Sing marked one of the clear peaks of Steven Wilson's career. A thrilling album, very well written, dark and complex. And he also managed to surround himself of the best musicians imaginable to help him record his best compositions since Fear of A Blank Planet and the result was another masterpiece of modern symphonic prog.

Thank you, Steven! This is what we expect from a man of your talent.

My rating: *****

 Grace For Drowning by WILSON, STEVEN album cover Studio Album, 2011
4.19 | 1712 ratings

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Grace For Drowning
Steven Wilson Crossover Prog

Review by The Crow
Prog Reviewer

3 stars After the unsatisfactory and a bit disjointed Insurgentes, which was like a compilation of Porcupine Tree unreleased tracks, Steven Wilson returned with Grace for Drowning!

And there he crafted a more coherent collection of songs, with a style which moves between the strength and power of Porcupine Tree and a much more jazz and psychedelic oriented sections. Sadly, this parts of the album are a bit dull and boring for me, making the listening of tracks like Raider II not really attractive.

Nevertheless, the album has enough good songs to be an enjoyable experience, and the lyrics are always interesting despite lacking a concept behind them like in Fear of a Blank Planet or the later The Raven that Refused to Sing.

Best Tracks: Deform to form a Star (the best track of the album, pure beautiful prog piece), No part of Me (simple, good written song) and Index (great lyrics and a very sinister tone)

Conclusion: Grace for Drowning is a better album than Insurgentes, but it does not reach the quality of the best Works of Porcupine Tree, having a lot of filler tracks and too much improvised jazz and psychedelic moments for my taste.

Nevertheless, the second Steven Wilson effort with his own name is a very competent and well-crafted piece of prog music which deserves to be heard at least a couple of times.

My rating: ***

 Unreleased Electronic Music by WILSON, STEVEN album cover Singles/EPs/Fan Club/Promo, 2005
3.42 | 52 ratings

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Unreleased Electronic Music
Steven Wilson Crossover Prog

Review by TCat
Prog Reviewer

3 stars This album is an official Steven Wilson release of his experimental and electronic music recorded between 1990 ' 2003. What you get here is a collection of music that Wilson was messing around with for different purposes, none of it was originally supposed to be released to the public. Of course, since there is a demand for anything 'Steven Wilson' it has been collected for those of us who are curious about anything he does.

The music here is quite experimental and leans towards his musical explorations of the early days and his experimental project 'Bass Communion'. There is quite a variety of sounds and styles throughout this music, because the songs were never intended to be put together on any album originally. So, you can expect the unexpected here, but don't expect to hear anything that sounds like the mainstream progressive sounds of Wilson or any of his bands like 'Porcupine Tree', 'Blackfield', or 'No-man'. Just remember, you've been warned (Blue Oyster Cult reference not intended).

Most of these tracks don't have a lot of information attached, so it's hard to have explanations for many of the songs here, which most times helps to shed light on what the background is for each of these experimentations. I find it helps me to appreciate each track better when I have some background on it. But, I will provide whatever info I can find.

'King of the Delta Blues' (1998) starts off the album. This song was part of a collaborative project Wilson was undertaking with Chris Lewis of Crashing Time that never got finished. It starts with a subdued rhythm that gets interrupted by a short voice track and returns much louder. The sounds are quite industrial with heavy, dark electronics and a snippet from an occasional Robert Johnson blues song interrupts every so often.

'Observer Commercial' (1998) is the music Wilson wrote for a 60 second TV advertisement in his early musical days to help pay the bills. It is quite a catchy and jazzy trip-hop track that goes by quickly. It has a St. Louis sound with little blurps of brass among a slightly dissonant background.

'Dub Zero' (1993) follows next and clocks in at over 8 minutes. It is a remix of a Chris Wild track. This one starts with repeating echoing effects and quickly establishes a trance beat. The beat starts and stops and is surrounded by nice electronic flourishes. It later turns to a bass and drum beat. It's pretty much just an experiment into trance style music, there is no melody or solos here, just dance music.

'The Toboganist' (1997) is an electronic tune that was intended for another Wilson project that was going under the name The Toboganist. It has a cool, bouncing sound that increases in speed really fast and then slows a bit to establish the rhythm, then it takes off in a fast percussive drum and bass loop with blips and beeps, short drones, and other sounds. This one is also quite trance-like.

'Shortwave' (1996) is a Bass Communion like track which has an interesting percussion track and a slow moving, descending melody and other effects. Halfway through, you start hearing voices as if being transmitted across airwaves and these come and go with different effects. The vinyl version of this album follows this with a remix of this track, but I haven't heard it.

'Telegraph Commercial' (1996) is kind of a short cool track with different vocals and effects that start to spell out the alphabet, but it soon gets all mixed up. It has a sort of industrial Aphex Twin sound. The advertisement was for 'The Daily Telegraph' which is a UK newspaper, but it was never used.

'To Wear a Crown' (1998) is another industrial style track that was part of the project started with Chris Lewis with heavy percussion and metallic effects. There are squeaks and squeals, and some lower electronic sounds interspersed for a dark and heavy sound. The static crackles that are often used to sound like a scratched record are actually condensed here to produce the percussion to make a real cool effect.

The source material for 'Nuclear Head of an Angel' (2003) is apparently all taken from an acoustic guitar and processed to make a very nice and soft interlude which is placed in the tracklist as a break from the heavy and fast electronic beats. This one is extremely beautiful, especially those metallic sliding sounds which produce the melody in this track. The lack of any percussion is welcome now and those otherworldly scraping/sliding sounds from the guitar are just so awesome.

'Nailbomber' (1997) features a crazy saxophone from Theo Travis and some subdued percussion all buried under strange rumbling noises. The beat is quite rapid again, and is a strange contrast to the previous track. I'm not a big fan of this one.

'Slut 1.4' (1996) is an unsettling and dark soundscape, again very similar to Bass Communion. A mid tempo trip-hop beat gets established after a minute of electronic effects. Volume increases a bit and the effects get more intense as percussion shifts a bit. Higher pitched effects are introduced in the 2nd half and tend to get a little more chaotic as short low drones continue to ebb and flow. The repetitive percussion makes this one seem to go on forever, and probably would have been better without that trance-like beat.

'Apres-Mortes' (1990) is the 12 minute closer for the album. This one seems to be inspired by Tangerine Dream. An electronic arpeggio establishes the basis for the track and drives it forward while other chords and patterns are played around it. No melody is established as this one just shimmers away and with very minimal percussion, can still put you in that trance-like state.

This album will probably not appeal to the masses that do not like the experimental music of Wilson ala Bass Communion and I.E.M. There are some really great tracks here, but they are watered down by the long tracks that don't have enough change in them to keep them interesting. As a person that likes some of the experimental music of SW, I find about half of these tracks do not hold a lot of appeal to me over time. I believe it is because there is a more extensive use of repetitive drum loops here that I find distracts me from the other things that are going on. I would be happy with half of the tracks here combined with some of the earlier SW projects, the better ones at least. The album is not a total wash, so I can give it 3 stars for the stronger tracks and for the historical value of the album since I am just fascinated with everything Wilson does. Anyone interested in Trance music will enjoy this.

 Home Invasion : In Concert At THe Royal Albert Hall by WILSON, STEVEN album cover DVD/Video, 2018
4.69 | 34 ratings

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Home Invasion : In Concert At THe Royal Albert Hall
Steven Wilson Crossover Prog

Review by rdtprog
Special Collaborator Heavy / RPI / Symphonic Prog Team

5 stars Steven hesitated to record a live concert with his last albums because of he had the feeling that his shows are meant to be seen live and that today everybody can see for free plenty of YouTube concerts. But when Eagle Rock approach him for the Bone tour, he finally accepts. He has chosen the legendary Royal Albert Hall in London to record this show of more than 2 hours and a half. He wanted to create more than your usual concert showing musicians playing on stage. He wanted to add a lot of animations to gives us the best visual experience. As the show goes on, the visuals aspect became more present to keep your attention until the end. For the audio, do I need to say that it's excellent? The new album is played completely, who can blame an artist to promote his album. By playing some proggy songs from Hands Cannot Erase album, I was able to compare the two albums, As good as is the new album, I prefer the previous album because the songs have a little more depth. The band played songs from the Porcupine Tree catalog to satisfy all his fans. The extras have some very professional recorded songs during rehearsals, and a 10 minutes interview with Steven. I gave 5 stars to the previous Steven DVD, so I can't go less than 5 stars again, because it's visually at least better.
 Home Invasion : In Concert At THe Royal Albert Hall by WILSON, STEVEN album cover DVD/Video, 2018
4.69 | 34 ratings

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Home Invasion : In Concert At THe Royal Albert Hall
Steven Wilson Crossover Prog

Review by The Jester

5 stars Review # 96. On November 2nd 2018, Grammy-nominated artist Steven Wilson released his latest work, Home Invasion: In Concert at the Royal Albert Hall. For those who still don't know him, I should say that he was the founder and leader of Porcupine Tree, among other bands and/or projects, such as No-Man and Blackfield to name a few. Since his early days with Porcupine Tree, he is considered as a very talented composer and skillful musician, but now that he follows a solo career, he is able to do whatever he really likes. And as it seems, what he really likes is to surprise his audience (pleasantly or not) with every new release.

So, after the release of the album To the Bone, that caught many people by surprise with its musical turn, this year returned with the magnificent Home Invasion; a double live CD, supported by DVD or Blue-Ray. (Or it's the other way round?). For the vinyl lovers, a special limited edition is going to be released on March 2019.

Home Invasion was filmed and recorded during the last of his 3 sold out performances at the iconic Royal Albert Hall during 2017. The production is flawless and the sound excellent. As for the tracklist, well? Steven Wilson decided to make a dive into his long career and chose songs from his Porcupine Tree days, up to his latest album. The concert lasted for more than 2.5 hours, and it was a stunning one! (A couple of my friends who live in London were lucky enough to see him during those performances and they were amazed!)

The collection of songs that are included here is very good, and despite each person's favorites, the truth is that, Wilson covered a very big part of his career in this album. Personally speaking, I would like to see a few more songs from his Porcupine Tree days, but the ones he chose to play are excellent, so no complains actually. Let's not forget that Porcupine Tree, like it or not, belongs to the past. Very important in my opinion is the participation of Ninet Tayeb, which was a pleasant surprise to me, cause I wasn't expecting her to participate in the live shows.

Some of the best moments here are the songs: Pariah, Ancestral, Arriving Somewhere but not Here, Even Less and The Sound of Muzak. But that's just my personal opinion.

Overall, this Home Invasion: In Concert at the Royal Albert Hall collection is recommended for all fans of Steven Wilson. The British musician takes his fans and listeners on a musical journey through time, as he showcases his eclectic musical work, as well as his talent and charisma. The sound and video quality are fantastic, where one feels like they are experiencing it from the front row of the historic Royal Albert Hall. A solid 5.0 stars from me! Congratulations Mr. Wilson!

 Vapour Trail Lullaby by WILSON, STEVEN album cover Singles/EPs/Fan Club/Promo, 2010
3.48 | 56 ratings

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Vapour Trail Lullaby
Steven Wilson Crossover Prog

Review by TCat
Prog Reviewer

3 stars 'Vapour Trail Lullaby' is a one track single by Steven Wilson that was given away with advance ordered copies of the DVD 'Insurgentes'. Originally, this track was demoed for Porcupine Tree prior to the release of 'In Absentia', but they never thought it fit quite right in their material. So, Steven Wilson recorded it solo. Since he thought it sounded too much like Porcupine Tree material, he left it off of any album. However, the last part of the track was adapted into the 'Twilight Coda' of Wilson's album 'Insurgentes'. Also, a different realization of the track was used in the track 'Lullaby' by Blackfield. So, parts and pieces of the track were used, but this single is the original 9 + minute version, which Wilson liked better than any of his other attempts to try to record it.

You should recognize the piano riffs as it fades in if you have heard the Blackfield song. Subdued and processed vocals soon start as the piano continues along with vocal field recordings added for atmosphere. The melody is the same as 'Lullaby' but the lyrics are different. As it continues, intensity slowly builds and instruments are added. The sound suddenly reaches normal level. Drums, mellotron and a beautiful soft guitar riff is added, as Wilson sings more verses. You will start to hear a countermelody during the chorus after awhile. At 6:00, everything quiets down as the coda begins. This part is more ambient as echoing guitars and keys create a spacey atmosphere.

As far as I can tell, this track was never released on any other recording. It is a beautiful track, but if you have heard the Blackfield song, you know what the main melody sound like, it is just that this track develops the song much better, because, as you know, most Blackfield songs are short and at times seem underdeveloped. Anyway, it is a difficult one to find and probably expensive if you do find it.

 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.64 | 370 ratings

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To The Bone
Steven Wilson Crossover Prog

Review by Zitro
Prog Reviewer

4 stars Steven Wilson Trying to Be a Pop Star and Failing but Making Good Music anyways

Steven Wilson is changing his artistic approach to music and re-thinking his role as a solo artist. More specifically, he wants the audience standing and dancing, he wants to reach mainstream success, and he wants to steer away from the progressive rock label. The album is fairly successful in a musical sense, but indicates a troubling change of direction for the artist, especially if you pay attention to his wants in interviews and speeches on stage. I fear his choices for his favorite tunes in the album, as they are among his most derivative songs of his solo career. The production of the album is also troubling, as if Steven Wilson wanted to make a tribute out of the 80s and eliminating complex percussion and some modern recording techniques. As far as reaching wide success, this album is a colossal failure and not surprisingly, given his sheer musical output experience and age, the general audience would not get drawn in by song knock offs from Peter Gabriel, Pink Floyd, ELO, or ABBA (some of the singles)

Before the overhyped album was released, there was a surprising number of tracks released to draw enthusiasm, and they were less impressive than what Wilson generally is capable of. 'Pariah' is very pretty but suffers from unimaginative lyrics, a grating volume imbalance in its ending, and sounds derivative from Peter Gabriel's 'Don't Give Up' structurally and sonically. 'The Same Asylum' sounds like a second rate Porcupine Tree tune trying to be catchy but does feature more involved instrumentation. 'Permanating' is legitimately catchy, though the influences are quite obvious and is awkwardly placed after single 'Refuge', which is somber, grander in scope, but borrows heavily from Pink Floyd and Peter Gabriel. 'Nowhere Now' has a more ambitious music video and is a pretty good pop song and overall one of the better singles here. The one single that really stood out for me is the electronic 'Song of I' - structurally progressive rock with a steady beat but always shifting music with no clear structutal pattern yet blended in with clearly mainstream modern features. It is experimental, creative, and very memorable.

Outside the singles, the remaining songs fare pretty well. 'To The Bone' is more of an earworm than any of the singles except maybe Permanating. 'People Who Eat Darkness' has an angry punk sound and carries the most energetic rhythms of the album. 'Detonation' has a sinister mood, syncopated synthesized bass, and a bizarre transition to an extended macabre dance song that takes a lot of listens to accept and enjoy - it really came to life when played live. 'Song of Unborn' is the other clear standout of the album with sparse, but progressively more symphonic music, some of his best lyrics of his career, with a massive but pleasant wall of sound in finale.

The music is overall successful and does show a different kind of musical maturity, mainly in restrained and melody writing. However, it is a troubling new direction that I feel is not sustainable as this approach can quickly get stale. Nervously anticipating what a new album would sound like, hopefully another new direction but involving a more flexible genre than pop. I also want to sit on stage - his music is not meant for standing!

 Hand. Cannot. Erase. by WILSON, STEVEN album cover Studio Album, 2015
4.30 | 1410 ratings

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Hand. Cannot. Erase.
Steven Wilson Crossover Prog

Review by ElliotYork

5 stars HAND. CANNOT. ERASE. is the most complete and fully-realised musical achievement by prolific prog artist Steven Wilson - widely regarded as the king of modern progressive music.

This album has been described as "The Wall for the Facebook generation", however I'd like to make it clear that this comparison does this brilliant work a disservice. I am a massive Pink Floyd fan, and recognise them as one of the absolute greatest prog acts of all time, and The Wall as an influential concept album. However, HAND. CANNOT. ERASE. aspires to a level of emotion and musical beauty beyond what The Wall achieves. For all of the brilliant records released with Porcupine Tree, this album right here justifies his decision to separate the band and pursue his own solo endeavours. I do not believe he would have had the freedom to create something so gripping and so powerful without having full control of the reigns.

But you can't have reigns with beasts of burden to pull the cart along, and thus credit must be given to the excellent instrumentation provided by Guthrie Govan, Marco Minnemann, Theo Travis and Adam Holzman. Each of these masters is at the top of their craft for their given instrument, and demonstrate that on full display here. Wilson could not have amassed a more brilliant team of musicians to help him release this creative project. I'd also like to give a massive shot out to Ninet Tayeb, whose guest vocals provide a pivotal layer of magic to the tracks she appears on. Some fans have lamented that Wilson didn't hand over a larger percentage of the vocal duties to Ninet, and I agree to an extend - her voice is incredible and far more dynamic than WIlson's. However, I believe this works in the album's favour. Ultimately, the narrative the album is portraying is bleak, depressing and incredibly human; Wilson's fragile and understated vocals capture this perfectly, which only adds to the impact of Ninet's vocals when they do appear.

This is one of the few albums to have ever made me cry, and surprisingly so it wasn't do to the emotional narrative concept it portrays. Rather, the concept is equally communicated through the musical journey Wilson takes you on, with climaxes during "Ancestral" and "Happy Returns" resulting in a well of feeling breaking through.

Steven Wilson had already earned his status as the king of modern prog through his work with Porcupine Tree, his great results as a producer, mixer and re-masterer of other prog material, and the three excellent solo albums preceding this one. HAND. CANNOT. ERASE., however, removes any debate on the matter, and puts the man in a league of his own. This is the prog album of the decade, and an easy 5 stars.

Thanks to Dean for the artist addition. and to Quinino for the last updates

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