NO-MAN

Ahh No-Man, they're kind of like Morrissey, in the fact they need to cheer up.

Tim Bowness is a very sombre person. His lyrics detect a bit of irony sometimes, but to be honest, he does say some colloquila phrases now and then to grab the listener's attention (I think he mentions pub quiz a few times)

No-Man have kind of faded in and out of everyones lives, with their early trip hop days and early pop melodies thrown in to the creative fire. They've now become a little more Prog, with the fact that Tim's own personal musician (or slave as i like to call him) Steven Wilson own amazing band Porcupine Tree (if you haven't heard of them...get out of town) had seen their own sucess, ever since they started to move away from their crazy psychadellic days.

This album was a great album. It was full of beauty, eeire atomsphere & the work of a genius behind the instruments (Steven Wilson). There was some things that I would have arranged better (like the odd vocal harmony every once in a while, have Steven sing a few songs, cause to be honest, I prefer him as a vocalist, and mabye a more prominent rythym section.) Although, with trip hop and post rock, it's more about the atmosphere of the music, rather than the personal individuality of the songs. (No one ever sings a Godspeed You Black Emperor song, except for psychiatric patients)

1. All Sweet Things - This is a very beautiful song, that reminds me of Pink Floyd & The Velvet Underground. It's very melancholic in a Smashing Pumpkins sort of way. The added ambience adds to the mood. The ending is very abrupt as well...

2. Beautiful Songs You Should Know - I love the title of this song. It reminds me of a slower Smashing Pumpkins song, with an eerie twist. Still a great song.

3. Pigeon Drummer - WTF!!! What is up with the massive heavy bit. I know Steven had flirted with metal, but with No-Man it seemed a bit out of place. But I wasn't expecting it, so cuodos. The rest of the song is incredibly eerie and the ambience adds to the horror.

4. Truenorth - A very weird song. A chimy piano part over a lovely string section is prominant and rememerable. The middle section has a Van Der Graaf Generator vibe to it, and some ideas taken from The Incredible String Band. The end parts reminds me of a sinister version of Pink Floyd. The strings accompanying the music box is very beautiful and well crafted. The end reminds me of Eels. (Not the fish, the band)

5. Wherever There Is Light - Reminds me of the Porcupine Tree song Feel So Low. The strings and flute sections are very beautiful. The music reminds me of Final Fantasy.

6. Song Of The Surf - The slide guitar in this song is quite cool. Again, another Velvet Underground sounding song.

7. Streaming - Imagine Eels, jamming with Massive Attack...then this is the song for you.

8. Mixtaped - A very laid back song. Very experimental and more ambience than an actual song.

CONCLUSION - This wouldn't be the best No-Man album, but it's still a great buy for anyone who has money...

Spreading the depression, one note at a time.

This is what this album really is: the attempt by two talented guys to make us feel forced empathy for them, to make us stand in their shoes and get as depressed as they probably are. I don't know much about Bowness but I have heard pretty much every major release by Steven Wilson's main band (PORCUPINE TREE) and side projects (BLACKFIELD) to understand that his music will never be happy or optimistic.

But at least (and most importantly) his music has always been good, sometimes extremely good. Combining his moods and feelings with energy and passion, Wilson has given me enough good experiences to consider him one of my favorite prog artists. That's why I can't help feeling disappointed about this album.

The mood of the music is always sad, melancholic, nostalgic; most of the time I get the idea of longing, of a person trying to capture something that's gone forever. This wouldn't be bad just by itself, as there are countless examples of absolutely majestic sad music (I have always preferred works written in minor keys, as a matter of fact.) But on this release, what we get is a series of repetitive, ultra-simple, lazy pessimistic songs that only appeal to the weak side of us listeners, but without finesse. The album tries to get us by the brute force of its sadness, without any interesting music to back it up. The melodies, usually a strength of any Wilson-created opus, lack beauty and sad music without beauty is just food for the stomach, not for the soul. The complete absence of energy throughout the album brings it one step closer to boredom. The harmonic work is so run-of-the-mill it sounds mundane, trivial. The atmosphere and magic that Wilson always generates are just turned into aural representations of the pathetic.

I was so excited to hear this generally-praised album that the disappointment was stronger than usual for prog records. I know Steven Wilson is a sure bet for me in his other projects, but NO-MAN is NO-MORE for me.

It's hard to believe it's been 5 years since their last album "Together We're Stranger".Of course Steven Wilson is a very busy man isn't he.As usual you can expect lots of atmosphere and melancholic moods.The lyrics are significant on this album(Tim Bowness wrote them all),they are a big reason why i like this record so much.Even the albums title and the picture on the cover made me think back.I have some good memories and bad during the 12 or so years of school,i'm mostly just glad that part of my life is over,although i wish i was as alive now as i was back then. "All Sweet Things" is really typical NO-MAN if there is such a thing.Piano and those reserved vocals from Tim early before acoustic guitar joins in.Check out the mellotron choirs before 2 1/2 minutes and later after 3 minutes.Such a sad song though about a person who takes pills to forget the past and also the present. "Beautiful Songs You Should Know" opens with strummed guitar,fretless bass from Colin Edwin,vocals and those guitar soundscapes.Cello 1 1/2 minutes in.Listen to Tim's passion as he sings "I want to give you all the beautiful dreams you can bear".A song about wanting the best for our children. "Pigeon Drummer" is the only let down for me.The bombast that is so loud it really ruins the song in my opinion.Even if it's mean't as a contrast i think they went to far. "Truenorth" is a top three track for me.The first part of it depicts someone who's life and future seem so futile and meaningless.Comparing their life to winter when nothing grows,you just try to survive and endure.The next stanza is so moving as Tim encourages this same person "Take a taxi through the snow, tell them you love them, don't let go".That line about taking the taxi through the snow is so meaningful when compared to the opening stanza.Even the music changes before the second stanza to a more spacey and calming soundscape.Flute from Travis joins in.Acoustic guitar joins in as it's building then Tim sings those powerful words i already mentioned about driving through the snow.Mellotron follows as he sings "You survived yourself,you survived inside the lost world".There is a hopeful and bright ending to this song. "Wherever There Is Light" is pastoral with pedal steel guitar and acoustic guitar.More emotional lyrics on this track.Flute 1 1/2 minutes in,mellotron follows.Pure emotion after 2 1/2 minutes.A top three track. "Song Of The Surf" is the other top three song for me.I like the PT feel to open with those electric guitar sounds.They are contrasted with a spacey FLOYD vibe before 1 1/2 minutes.The contrast continues.Brilliant track.Lyrically this is painful for me to read."Hopes drowning in the hurt". "Streaming" is another sad song about the summer days being almost over,of course there is more to these lyrics then the season.Beautiful song. "Mixtaped" is the final track.More fantstic lyrics.Of course it's melancholic.I like the guitar soundscapes before 3 1/2 minutes.It's spacey as vocals almost whisper 5 minutes in "You'd kill for that feeling once again(remember),afloat on the ocean,beyond the pain". Despite some minor flaws there's way too much here that i like to give it less than 4 stars.

This EP contains one song(the title track) from the "Returning Jesus" album while the other tracks are previously unreleased outtakes from the "Returning Jesus" sessions. "All That You Are" is pastoral with those reserved vocals until we get a fuller sound after a minute as drums and organ join in.This contrast continues.There's some passion in those vocals after 2 1/2 minutes.Nice. "Until Tomorrow" is pretty much banjo(it works) and vocals throughout.Some brief synths after 2 minutes.A very understated song that is actually reprised as the final track on this EP. "Chelsea Cap" opens with synths and drums as keys join in followed by vocals.I'm reminded of PORCUPINE TREE when the sound gets fuller on the chorus.Nice bass here from Colin Edwin.Some flute from Theo Travis follows.Themes are repeated. "Darkroom" is haunting with piano to open.Percussion and almost spoken vocals join in.Synths a minute in.I like when he sings slowly before 2 minutes and you can hear samples.Such a cool track.The reprise of "Until Tomorrow" is done in such a way you would think your listening to it on an old scratchy LP. I think like russellk i have to give 4 stars.It's sometimes hard to give that rating for an EP but this is a very worthwhile recording and i'm proud to own it.

"Heaven Taste" consists of B-side songs(1991-1993) that never made it onto previous albums.It's not that they weren't good enough but more that they didn't fit in as well as the songs that were chosen. "Long Day Fall" opens with the sounds of children playing as violin plays over top.Guitar then vocals after 2 minutes.Nice.The children are back to end it after 5 minutes.Good song! "Bayship Blue" is spacey and atmospheric to open as a beat comes in reminding me of early PORCUPINE TREE.Vocals before 2 1/2 minutes as it settles.It picks back up as vocals continue.It has a spacey to ending. "Bleed" is spacey with vocals and a light beat.This song is easy to get lost in.A heavy beat takes over after 4 1/2 minutes as it gets rough. "Road" is a Nick Drake cover that was originally on a tribute album for Nick called "Brittle Days".Percussion,keys and vocals lead the way.It doesn't have that powerful atmosphere that the previous two songs had. "Heaven Taste" is the over 21 minute closer.Richard Barbieri guests on this one with keyboards and programming.It's spacey to start out until a beat breaks out before 3 minutes.Violin joins in but not for long.It settles before 9 minutes as percussion continues.It sounds like moog that comes in.The beat stops before 12 1/2 minutes as it turns spacey.It then kicks back in about a minute later with drums and bass.Spacey and atmospheric again around 15 1/2 minutes.Nice.The violin is back.The beat returns before 17 minutes.The last 2 minutes are spacey. A solid 4 stars.

This could have been so much better.The opening and closing tracks are very good songs but the three in between really bring this EP down to where i can't even recommend it. "Housewives Hooked On Heroin" opens with vocals as the sound slowly builds.It kicks in before 1 1/2 minutes then settles back as this contrast continues.Some guitar 3 1/2 minutes in.Great lyrics on this one. "Hit The Ceiling" is an uptempo song with a heavy beat throughout.Female vocal melodies come and go. "Housewives Hooked On Methadane(Scannes Mix)" is like a dance mix of the title track and is a failure in my opinion. "Urban Disco" continues the dance beat,it gets a little heavier 2 1/2 minutes in. "Where I'm Calling From" features Robert Fripp doing soundscapes and Ian Carr playing trumpet.Two legends.This is a fantastic song and it almost makes me forget the previous three tracks. Fans only for this EP.

First, I'll break order of review by bringing third song here. Switching between noise and calm parts can be good sometimes. But as shown in Pigeon Drummer, I'm almost afraid of these loud passages, because it's acceleration from 0-100 in half of a second. It's simply too sudden, too unnatural and one don't have time to prepare for it. OK, let's get back.

As I understand this, it's some kind concept album about childhood memories, some of them are bad and that there's Steven Wilson involved (big three of "involving names in prog, Portnoy, Wilson and Stolt) and of course, I was interested. This is my first No-Man album, so I can't compare (except few similarities with PT), but I don't like it. It's more like feeling. But fortunately, the terrible experience of Pigeon doesn't happen again. Except this one, this album contains only calm songs. Really calm, like almost totally dead. Some may call it atmospheric and indeed, it has some kind of feeling shining from it (can sound actually shine?), but it's really not my cup of tea. I want more, or at least anything going on.

Very slow music, playing with sounds, because even I was able to overcome evil Drummer, I found nothing on other side, or almost nothing, except few good ideas (such as in Truenorth). Which is sad, because first two songs are quite good.

So 4(-), one strange suggestion, try to play games like F.E.A.R. 2 or Condemned the Criminal Origins, where abandoned school at night, full of (let's say) demons location appears. And guess what, I get the same feeling when listening this. It's story about past and yes, "Pigeon Drummer" is terrible song with "evil" sound, but it's all part of the play. I have to say that it took me long, long time to overcome this and enjoy this album

Handsomely crafted, emotive, and lush with genuine beauty, Schoolyard Ghosts encapsulates everything No-Man fans should expect from this rare duo in a package eager for discovery by new listeners.

Songs here are mostly mid-length with much variety, but all drift with gentle ease and ambiance. Browness' smooth voice croons out a few memorable melodies, but in general sticks to melancholy serenades. His voice isn't for everyone, but for those seeking something relaxing will be greatly rewarded. Similar to the excellent Together We're Stranger, Schoolyard Ghosts abandons pop-sensibilities seen in the group's early work for more mature, thoughtful compositions. Somewhat repetitive, but rewarding after multiple listens simply for the sake of discovering the many layers of music hidden in the ambiance. Returning fans will notice lots of new sounds and experimentation as well.

For No-Man neophytes looking this way via interest in Steven Wilson, then this album is a good starting place. His instrumental work shines throughout as well-- for me exceeding the artistry he's been demonstrating lately with Porcupine Tree (just don't expect any solos).

As a fan of the heavy-stuff, music like is essential to round out my musical palette. It's perfect for relaxing, thinking, romancing, etc., and a good place to investigate the group. Expect plenty of gentle, smooth sounds.

Songwriting: 4 Instrumental Performances: 3 Lyrics/Vocals: 4 Style/Emotion/Replay: 4

Wild Opera is modern prog and therefore will obviously not appeal to many PA purists as this is way raunchier electronica than many would accept and hence,, far from the usual prog suspects: Sympho, Retro, Rio, Neo and Proto (sounds like the Marx Brothers!, where's Chico, Harpo and Groucho when you need them?). This is progressive Dance/Electronica with an edge, insanily superb production, oblique rhythms, odd effects, quirky patterns and outright disturbing themes. The opener "Radiant City" is a fine example of psychotic drum beats, probing bass synth, zippy guitar thrashes, all sounding very cosmo-urbane and contemporary, laced with a Mel Collins sax eruption set to disturb loudly and jostle with creepy lunacy. "Pretty Genius" is a smooth groove, equal doses of chilly electro-jazz, very soundtrackish strings a la Hooverphonic/Portishead, some fluttering flute wisps and those slippery preoccupied vocals by Mr.Bowness. I love this kind of orchestrated cool, so I am in all the way! "Infant Phenomenon" is a paranoid jumble, a bruising affair led by a saturated fuzzed out bass, with weird and unblessed exhortations ("Sickening Sensation of Love") that reveal a deep inner turmoil. In order to confirm the latent schizophrenia, the somberly magnificent "Sinister Jazz" affords some spoken word spectral oddity verging on intense evil ("and never going home"), both threatening and glitzy, hence the à propos title. Again, love the bizarre! And should you want to further stretch the envelope of insanity, the curiously perverted "Housewives Hooked on Heroin" strays into the abysses of despair and agony, a drugged out lament about apathy and deranged dysfunction, ("His paradise became his living Hell"), a raging guitar mid section that illustrates the disdain of a troubled soul. Weirder yet is the following "Libertine Libretto" an experimental, no wait, just a mental whack out, that unifies dissonance, echoed vocal passages, a loopy collage of disjointed doodling piano, buzz-fuzz guitar and effects into this massive cauldron of madness. The contrasting "Taste my Dream" is a celestial ballade that flows groovily along for over 6 minutes, unyielding in structure and adamant in melody, with some gorgeous pools of mood music, exceptionally expressive vocals from Tim Bowness and overall top-notch instrumental expertise. "Dry Cleaning Ray" is the proverbial pop song here, a scintillating piece of music that is both catchy and accessible (a bit like the future Blackfield), with a repeated organ roll that sears the brain. Hard to resist this again, it's Wilson at his best, with that ability to squeeze out a huge chorus from literally nothing! "Sheeploop" grooves unsettlingly, sort of a cold -jazz electronic ode to runaway from a vodka martini overload, stressed by the urban merry-go-round, ("this loving demands no part of me") and passes out with bubbling synths. "My Rival Trevor" is a funny tirade, a quite amusing synth-pop ride with muffled voices, hysterical axe drippings, hinting at "Clever Trevor", the Ian Dury hit from the 80s. The huge drum programming sound works well in distilling the cold harsh reality of modern electronic music. "Time Travel in Texas" continues the schizo theme, ("See Where it Gets us" rhymes with the title, cute!), essentially a minimalist effect-laden brew that pursues the inner scorn and crushes it further. Bizarre again, but a good bizarre! "My Revenge on Seattle" has some extraordinary vocals from Tim, soaring like some mythical bird over vast horizons of sultry synthesized winds, puffy clouds of piano and placid beats, and the immortal last words "maybe there is more to life than writing songs , maybe not..."! A hidden track ends this genial recording , the title track "Wild Opera" with a sustained piano note gurgling with synthesized wasps, thriving bass blasting away, a shard of dissonance cutting nicely through the sinews. Definitely a worthy follow up to Flowermouth and a strong recommendation for the sonically adventurous. I love wild opera anyway .4.5 untamed Verdis

This is the highest rated No-Man recording and deservedly so! If you take the initiative and actually absorb yourself into this album, it will blossom mightily. Firstly, the guest list is as impressive as one could hope for! Steve Wilson, Ben Coleman and Tim Bowness surrounded by stalwarts such as Robert Fripp, Mel Collins, the sumptuous Lisa Gerrard of Dead Can Dance fame, the visceral nucleic trumpet of Ian Carr, Richard Barbieri and Steve Jansen of Japan and the two Maitland brothers. While the material is infinitely more polished, it is still dance/space/electronica prog pop of the highest order, stuffed with riveting melodies and cool breezy refrains. All tracks are stupendously inquisitive, with "Shell of a Fighter" being the absolute colossal success, instantly adhering to one's pleasure nodes and squatting there unperturbed. Probably one of my fave tracks in modern prog, luscious piano, searing electronics from Barbieri and astounding vocals set in the sincerest melody ever. A breeze! The finale is bathing in sonic white noise, creepy swaths of fuzzed- out guitar skirmishes, a sizzling euphoria that overpowers and then settles into another Frippertronic guitar wave goodbye. "Teardrop Fall", "Animal Ghost" and "Simple" are all moody little ditties that have reflective powers that do not fade away, brimming with melody and moody melancholia. The opening nearly 10 minute monster is a sonic ride that is a spellbinding "ballade" with 2 sax blows sandwiching some fine trumpet playing. I am particularly hypnotized by "You Grow More Beautiful" and its numbing beat and prowling guitar flushes, strongly reminiscent of the Beloved, the shivering and delicate "Soft Shoulders", smoldering in languorous ambience, eerily remindful of future Porcupine Tree ballads and the terrific "Things Change" where flurried guitar washes and furry rhythms abound, slashed by a phosphorescent Frippian axe missile that blazes and fizzes uncontrollably. Slow burning exaltations of a man spurned , in a sea of sadness and pain ("You are leaving me behind" and a "Things Change" retort), dense whirlwinds of atmosphere, dreamy almost soporific piano, dirge-like effects and a simple drumbeat , loaded with desolation and guilt. And then THAT incredible guitar drills massively forward, unremorseful. Brrrrrrrr! You got to hear this to believe it! Some difficult fans have a problem with Tim Bowness' voice, complaining unjustly that it's too "hushy mushy" but there emanates a romantic ennui that is instantly adept at translating the moodiness of the music. This needs repeated auditions to really sink in, fine party music for a classy get together. An easy 4.5 blooming orifices.