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Tim Bowness biography
Tim BOWNESS is primarily known as vocalist/co-writer with the band NO-MAN, a long-running collaboration with Steven WILSON (PORCUPINE TREE).

In addition to releasing six studio albums and a documentary DVD with NO-MAN, Tim has worked with popular Italian artist ALICE, Robert FRIPP, Hugh HOPPER (SOFT MACHINE), OSI, WHITE WILLOW, Nick MAGNUS and ROXY MUSIC's Phil MANZANERA (amongst many others), and is a member of the bands HENRY FOOL and MEMORIES OF MACHINES.

Tim recorded the album 'Flame'(1994) with Richard BARBIERI (PORCUPINE TREE/ex-JAPAN), co-produced/co-wrote 'Talking With Strangers' (2009) for Judy DYBLE (ex-FAIRPORT CONVENTION), and continues to collaborate with Peter CHILVERS (Brian ENO/Karl HYDE).

Since 2001, Tim has co-run the successful specialist online label/store BURNING SHED with NO-MAN live bassist, Pete MORGAN.

In 2004, Tim released his debut album 'My Hotel Year'. 'Abandoned Dancehall Dreams' (from 2014 and on InsideOut Music) is his second.

Biography provided by the artist and used with permission

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Lost in the Ghost LightLost in the Ghost Light
Imports 2017
Audio CD$12.83
My Hotel YearMy Hotel Year
One Little Indian Im 2004
Audio CD$16.84
$3.98 (used)
Single · Import
Imports 2004
Audio CD$54.79
$289.56 (used)
Stupid Things That Mean the WorldStupid Things That Mean the World
Inside Out Music 2015
Audio CD$11.05
$11.00 (used)
Abandoned Dancehall DreamsAbandoned Dancehall Dreams
Inside Out Music 2014
Audio CD$11.15
$10.34 (used)
Lost in the Ghost LightLost in the Ghost Light
Imports 2017
World of Bright FuturesWorld of Bright Futures
Resurgence UK 2000
Audio CD$91.23
$63.99 (used)
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CENTROZOON - Never Trust The Way You Are (Resonance CD 2004) Tim Bowness No-Man USD $8.73 [0 bids]
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TIM BOWNESS discography

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TIM BOWNESS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.80 | 10 ratings
Tim Bowness & Richard Barbieri: Flame
4.00 | 8 ratings
Tim Bowness & Samuel Smiles: World Of Bright Futures
3.31 | 7 ratings
Tim Bowness & Peter Chilvers: California, Norfolk
3.19 | 12 ratings
My Hotel Year
3.79 | 104 ratings
Abandoned Dancehall Dreams
3.84 | 63 ratings
Stupid Things That Mean The World
3.93 | 28 ratings
Lost in the Ghost Light

TIM BOWNESS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TIM BOWNESS Videos (DVD, Blu-ray, VHS etc)

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

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


Showing last 10 reviews only
 Stupid Things That Mean The World by BOWNESS, TIM album cover Studio Album, 2015
3.84 | 63 ratings

Stupid Things That Mean The World
Tim Bowness Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

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

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

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

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

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

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

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

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

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

4.5 Idiotic effects

 Stupid Things That Mean The World by BOWNESS, TIM album cover Studio Album, 2015
3.84 | 63 ratings

Stupid Things That Mean The World
Tim Bowness Crossover Prog

Review by admireArt
Prog Reviewer

4 stars The brighter side of Tim Bowness

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

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

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

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

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

4.5 PA stars.

 Tim Bowness & Peter Chilvers: California, Norfolk by BOWNESS, TIM album cover Studio Album, 2002
3.31 | 7 ratings

Tim Bowness & Peter Chilvers: California, Norfolk
Tim Bowness Crossover Prog

Review by torvald

3 stars Quite a sparse,intimate and initially unprepossessing album from Steven Wilson's alter ego on the NoMan project singer-songwriter Tim Bowness and Brian Eno collaborator Peter Chilvers on all other instruments here,which nonetheless manages to slowly charm the listener into its hermetic soundworld of melancholy ruminations and languidly evolving ambient composition.Ranging from minimalist neoclassical vignettes for piano and voice such as ''Chant One'' to the acoustic balladry of closing track ''A Dreamers Song'',and from the string driven abstractions of ''Post-its'' to the 10 minute piece de resistance ''Winter with you'',which follows a 3-part suite form that goes from ambient electronics straight through to rough industrial feedback and then back again to melancholic piano crooning,''California,Norfolk''(namechecking an actual seaside resort in Britain)manages to hold the listener's attention,without forcedly demanding it.

Maybe not necessarily as accomplished or spectacular in its tone or variety of range as some of the masterpieces Tim Bowness has recorded with Wilson under the NoMan banner,perhaps a little too uniform and reserved in mood for any stand out tracks to truly etch themselves indelibly on one's memory and occasionally marred by some dated electronic beats(subtle..) and textures here and there,''California,Norfolk'' still manages to present the solo/collaborative Bowness canon with one of its more significant and interesting releases,which I am sure long term fans of this most distinguished and characteristically mellifluous of voices in contemporary art rock need no further incentive to purchase.Those less familiar,should probably start out with the NoMan discography and then work their way through some of his more adventurous latter day solo(''Abandoned Dancehall Dreams'') or collaborative albums with Giancarlo Era of NoSound(''Memories of Machines'') before approaching this slow burning gem of a record;either way,one will not regret spending time in its gracefully lyrical flow or poetic meditations for its court 45 minute duration.

 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.79 | 104 ratings

Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by GruvanDahlman
Prog Reviewer

4 stars Whenever I travel I like to visit at least one record store. I am a nut for owning albums. MP3:s and Itunes galore but nothing beats the real deal. So, standing there, feverishly, in a record store in Düsseldorf, holding a Grobschnitt album in my hand, I stumble across Tim Bowness' "Abandonded dancehall dreams". I have to admit I knew almost nothing of the man, only having read the odd review on PA but when my eyes wandered across the sections in the store and seeing it there, I knew I had to have it. Something called out inside of me. And thus ends the first part of this review.

The thing about this album is that it is a piece of melancholy, steeped in gentleness and atmosphere focusing on loss and longing. The outbursts of heavier sounds are sparse in numbers and could be easily counted for those inclined to do so. Overall the album is a tapestry of warmth and sorrow, which may sound a bit heavy but it isn't. I would rather proclaim it very enjoyable and moving, not overly complex but rather accessible in a progressive kind of way.

The opener "Warm-up man" acts a great introduction to what has proven an increasingly worthwhile album. "Warm-up man" is one of those more action-packed songs as far as music is concerned. It is a really good song though it is the coming ones that really puts the finger on the album's greatness. "Smiler at 50" is probably my favorite of the lot. One of the two really long tracks it holds two distinctly different sections. The first being very mellow, atmospheric and thought provoking in both lyric and musical tone, the second is an outburst which perfectly fits the glove of this track. Together the sections balances a song of outstanding beauty and ultimately power. Equally good is "Songs of distant summers", though it holds no outburst in the vein of the previous track. Sheer beauty and mellowness.

The next track is interesting and quite different to the other tracks with it's folky approach. "Waterfoot" is a very moving piece, fitting to the context of the album. "Dancing for you" holds a wonderfully emotional guitar solo. That song gives me the feeling of flowing in a non gravitational space. I just have to close my eyes and I am able to touch the stars of our universe. (Ramble on, why don't you.) Well, it's true. The keyboards are outstanding aswell.

"Smiler at 52" and the ending " Beaten by love" are great tracks aswell but of the last few tracks "I fought against the South" is the best. It is built in a similar way to "Smiler at 50" with a soft, beautiful opening and a very powerful ending section, complete with a screaming violin. Exquisite!

The voice of Tim Bowness is gentle and holds a certain timbre of great pleasantness. His voice really suits the narrative approach to the lyrics, making it feel like an orchestrated reading. (I must point out that Bowness sings, not speaks. Just to clear any misunderstandings.) Musically it is performed in a flawless way, fitting the stories perfectly. Steven Wilson, probably the foremost crusader of contemporary prog, appears on the album and delivers some fine guitar playing.

When standing there in Düsseldorf I found the deluxe edition of "Abandoned dance hall dreams" with an extra disc of bonus material. I do not always think that the bonus material is all that interesting. Sometimes it even bores me, as is the case with the second disc of Transatlantic's "Kaleidoscope". In this case it is different. The bonus material is really interesting. In particular this is true of the title track, not appearing on the album itself. It baffles me, since it is a very emotive piece with a crackling musical setting, reminding of lacklustre dancehalls and bars, filled with ever hopeful but sad people. It would really have suited the original album but there you go. "The sweetest bitter pill", reminding slightly of The Verve, is drenched in mellotron and very good. The bonus tracks are obviously not substandard throw-aways, rather discarded on other grounds. I think, overall, that it may have been a good step to take, making the "original" album a more concise and powerful statement.

My rating will be based solely on the first disc of the album, since I believe that is the true proclamation of Bowness' artistic integrity. The bonus tracks are simply the colorful candles on the birthday cake. So, as a concluding note on the subject I must say that this is a terrific album of great emotions and soundscapes. I discover new things as I go along and believe this album will stay with me for quite some time. I will rate it with four brightly shining stars.

 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.79 | 104 ratings

Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by DrömmarenAdrian

2 stars One more record where the thing I appreciate most is the cover, unfortunately. The picture is very old-style and should fit a seventies LP-record fine, the dance couple seems aslo to be taken from an old movie or something. "Abandoned Dancehall Dreams" is a studio album by the american artist "Tim Bowness", it's his fifth work and on this record he plays guitar, keyboard but mostly sings.

The music does really feel abandoned, often it is like a sad voice in an empty roam. All the songs are very sad and pessimistic. I could have accepted that if the music contained more than it did. Sometimes I like what I hear on this record "Smiler at 50" is the record's best song with beautiful strings and great instrumentation and the vocals work fine too(6/10). "The Warm- up man forever" with great drums and guitar solo(6/10), "Dancing for you" with great guitar and synth(6/10) as well as "I fought against the south", which has great instrumental parts (6/10) are pieces I don't regret I listened to. But as a whole record it just makes me sad and melancholic.

I don't recognize things in this music, it's like the musicians aren't talking my language. The rest of the songs are hard for me to endure. "Abandoned dancehall dreams" has good points but I don't see the reason for me to hear them. Two stars!

 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.79 | 104 ratings

Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by Gallifrey

4 stars I've never really liked No-Man. I'm one of those people that likes to treat Steven Wilson as some sort of god among men, and I am a huge fan of every single one of his musical endeavors with the exception of No-Man and I.E.M. (and to a certain extent Bass Communion). I feel that I should love it - Steven writing dreamy pop music, but none of their albums ever really clicked with me, even after giving the fan-favourite Together We're Stranger a good four or five listens during my 2003 focus last year. The compositions just aren't as melodically interesting, and even though at times I kinda get the vibe they were going for, I can never say a No-Man album is anything more than "ok", and I feel that a lot of it comes down to Tim Bowness' voice. It's just got such an irritating timbre, and he tries to be dramatic and breathy far too many times in his delivery. Give me a No-Man record with Sir Steven singing lead and it may jump up a full 2 points. Ironic, then, that the first thing I actually enjoy from this project, is an album with no Steven Wilson input.

And yes, to those wondering, this is a No-Man record, despite Mr Bowness' name being the one on the cover, since all of these songs were written to be a No-Man record originally, but with Steven abandoning him to continue sucking off Robert Fripp (I'm not complaining by the way), Bowness decided to release them himself, and at least had the courtesy to put it under a different name. But unlike the abomination of Blackfield IV, this actually wouldn't bring any real disrepute to the No-Man catalogue, since as I said before, this is actually rather good. This is easily the rockiest I've heard No-Man at, with some of these songs being quite heavy and grooving. Should the opening pair of tracks have been placed on a true No-Man record, nearly everyone would assume they were Wilson compositions, so it nearly seems that Bowness is rocking up his sound a bit in order to overcompensating for his missing boyfriend.

As I said before, it's the opening duo of "The Warm Up Man Forever" and "Smiler at 50" that really bring this album forward in my ears. The opener has the traditional sultry groove that No- Man has dabbled in in their trip-hop days, but with the stellar string parts and the jumpy rhythms from the bass and drums it becomes an entirely different beast - energetic and quite fun, but in a melancholic sort of way. The second track has a first half reminiscent of what No-Man have been doing on their last two albums (although with a good melody), with its dramatic piano and violin lighting up the melancholy. But the real treat comes at the end of the track, where Tim decides to imitate his best friend in the nicest way possible, bringing a noisy and chaotic wall of noise straight in, smothered in choirs and strings and flute, sounding directly off one of Steven's recent solo records. It's fantastically intense, and the intensity is what No-Man have always needed in my mind, since the rest of their music is so needlessly dreary.

But it's almost as if these two tracks, being more upbeat and exciting and energetic than the standard No-Man material, create a nice opening for the rest of the album, which more or less is standard No-Man material. An album like Together We're Stranger spends its entire length being moody and dark and repetitive and honestly quite dull, but even if some of the songs have moments, the entire record sounds pretty much the same, so they're drowned in boredom and sameyness to the point where I can't even enjoy them as moments. The remainder of Abandoned Dancehall Dreams isn't too far off from those records, being primarily ambient pop music with a focus on dreamy and dreary atmospheric grooves, but with the wonderful opening pair, the songs really start to open up, because they're not waves in an ocean, they're like the first sight of the ocean after a rocky climb over land. There are no real highlights of the remaining tracks, but all but a couple feature nice parts within them. I'll admit that I still can't really get into Bowness' voice, but the dreamy piano and guitar that flows through his structuring finally starts to open up to me on this album.

The one thing that Abandoned Dancehall Dreams has really done for me though, is give me a bit more hype for when Steven returns to No-Man. It's evident that Tim has tried to fill his absence with songs like Smiler at 50, but a full-on return from him could bring about some wonderful compositions in the vein of the Insurgentes record (still waiting for a sequel, Steven). But for now, Abandoned Dancehall Dreams is certainly my favourite record from Mr Bowness' career, and I'm really glad that I'm finally starting to appreciate and understand him, because he has evaded me for the longest time.


Originally written for my Facebook page/blog:

 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.79 | 104 ratings

Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars Tim Bowness is one of the few truly stellar progressive rock voices, both unique in timbre and emotionally effusive, with a vast catalog of successful endeavors with his pal Steve Wilson (No-Man is a stalwart entry in the prog pantheon), as well as his ongoing work with Henry Fool and a flurry of solo adventures of which "Abandoned Dancehall Dreams" is the very latest to reach our ears. Adorned by a classic 'retro' progressive rock album cover that ensures the proggy nature of his craft and populated by the 'crème de la crème' prog musicians (names such as veterans Colin Edwin, Pat Mastelotto, Richard Barbieri and Wilson, as well as the newer Henry Fool crew of keyboardist Stephen Bennett, drummer Andrew Booker and guitarman Michael Bearpark) who all simply 'get it' when it comes to the divine spirit that Tim Bowness seems to completely master. The results are quite impeccable, as this is not ambient shoe gaze gauze but a melancholic poetic essay drenched in powerful emotions that defy the possibility of yawning at the drop of a hat. Each composition possesses its own inherent heartbeat, searching out bewildering horizons where escape and contemplation rule the day. Nothing excessively long or ridiculously short, the entire menu just flows delectably. There is enough here to attract both the demanding rock fan as well as perhaps finding favor with that eternally "unflinchingly hostile to prog" female market.

Highly atmospheric, sensually inspired, sturdily grounded with rhythmic foundation and loaded to the gills with ethereal sound sculptures, Bowness' hushed voice flickers like some fiery butterfly ballerina, eternally riveting and intense. There are some glittering prizes among the crown jewels solemnly encased for the prog tourist to view, namely the "Smiler at 50" and its electro companion "Smiler at 52", both ecstatic gems that will rock your world. My personal favorite is the mind-blowing "I Fought Against the South", a nearly 9 minute extravaganza that goes through a contrast turnstile halfway that just left me helplessly glowing, crushed by the orgasmic string arrangement led by Andrew Keeling. These violins actually emote on a heavenly mantle of mellotron cushions, grandiose flute fluttering and eclectic percussive concussions.

This exquisite package includes a second fully loaded CD that offers mix/outtake variations on the preceding themes, reworked demos that conjure up a wider palette of sounds, different musicians and extending the overall pleasure with any hint of redundancy. In some instances, the arrangements become more electronic in nature, with vocoded voice effects and Kraftwerkian beat box moods running rampant. The all choral "Singing for You" is achingly rapturous!

Another 2014 masterpiece!

5 reckless disco reveries

 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.79 | 104 ratings

Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by Second Life Syndrome
Prog Reviewer

4 stars I love it when I listen to an album with absolutely no expectations, and I'm completely taken by it. Tim Bowness' new solo album "Abandoned Dancehall Dreams" is a moody, groovy, spine- tingling album of sonic wonder and beautiful, eerie soundscapes. Its melancholy is gorgeously perfect, and utterly enthralling.

Tim Bowness is the vocalist for the band No-man, made famous by collaboration with Steven Wilson. The latter and many other artists are involved in this work, honestly too many to mention. Reading the list of contributors, the sound of this album becomes pretty clear. An electronic foundation of programming and effects is but one of the layers found here, as violins, flowing bass, and soaring guitars all combine to form a dark contrasting environment in which Bowness works. That is one of the biggest impressions I get from this album, as Bowness seems to like really slow, bass driven compositions which he can then augment with brilliant melodies using some non-standard instrument. It's a strategy that works beautifully.

Bowness' lyrical content is clearly part and parcel with the music. The two mix organically on a level that few ever achieve. "Abandoned Dancehall Dreams", in my view, is an ode to lost dreams and the frustration with not being able to achieve what you set out to do in life. Yet, somehow, it's also about the forced smiles and perceived happiness that we conjure in response to our abandonment of our deepest desires. The melancholy bulldozer within this album pushes this story into your mind with great finesse and skill.

There are high points and low points here, but far more of the former. My favorites include "The Warm-Up Man Forever", "Smiler at 50", and "Smiler at 52" (probably my favorite) with its clear electronic beat. Honestly, though, I really like every song on this album, and even this album's cover is right up my alley with its quaint, retro style. Tim Bowness has really impressed me with this organically melancholy, emotional album. Its blunt flow and catchy choruses are so far the biggest surprise for me this year.

4.5 stars

 Abandoned Dancehall Dreams by BOWNESS, TIM album cover Studio Album, 2014
3.79 | 104 ratings

Abandoned Dancehall Dreams
Tim Bowness Crossover Prog

Review by admireArt
Prog Reviewer

4 stars His unique universe in all its extensions.

To approach Tim Bowness´music, there are some simple rules. His passion for melancholy dresses much of his work. Simplicity first, exhuberance after. Tim Bowness owns a "trademark" voice, so wherever he is, you will know! And above anything else his musical environments have always his underlined unique signature.

Abandonned Dancehall Dreams, 2014, is no exception to these "rules", but in a massive context.

Featuring an "All-Star" band, playing along every single turn his personal language takes in this 2 cd project and delivering a very attractive and quiet finished set of scopes and styles, which he compresses and refines at his best in each one of these songs.

To tag him, for newcomers, I will certainly address the "post rock/math rock" tag first, then his (and Steven Wilson's) NO-MAN (as MEMORY OF MACHINES , CENTROZOON or his SLOW ELECTRIC project bands) and then finally the listeners who dig TALK TALK's later works, kind of a dream like "crossover" prog, taken to full length in Tim Bowness' own terms.

If I could compare this work with his previous "solo?" works (the ones listed here in PA) , I certainly will rate this one 5 stars, but in a general prog/universe this is at least ****4.5 PA stars!

 My Hotel Year by BOWNESS, TIM album cover Studio Album, 2004
3.19 | 12 ratings

My Hotel Year
Tim Bowness Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars The press release for this album captures the feeling behind Tim Bowness' debut solo work really well when it says 'Calling all fans of Bowie, Sylvain, This Mortal Coil and the quintessential 4AD sound, Hammill, Walker, Drake, Tim Buckley, Eno, Marks Hollis and Eitzel, Portishead, Red House Painters and existential introspection set to a smorgasbord of 21st century beats - upbeat, downbeat or simply a heartbeat.' This is an album that is full of emotion and passion, fully laden with atmosphere and a very different take on the musical world. Tim is of course well known for his work with Steve Wilson as no-man (I have a sampler containing a song from the band when they were known as 'no man is an island except the isle of man'!).

Probably the word that best sums up this album is 'reflection', whether it is self- reflection by the listener or by the singer. This is music to drift along to, music that creates a certain ambience. One can imagine some of these songs being used in films, as there is a definite cinematic quality about them. This definitely won't be to everyone's tastes but when the latest shredder has taken away the wits and what was left of your ear drums then this would be the album to chill to.

Originally appeared in Feedback #81, October 2004

Thanks to kev rowland for the artist addition. and to E&O Team for the last updates

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