TO THE BONE

A tremendous exercise in texture, accessibility, and sonic depth. This is probably one of the most accurate ways to describe Steven Wilson's 'To the Bone' - another achievement in his broad catalogue, and another turn in style.

Unpredictable as he is, there could be a logical reason why this album comes right after 'Hand. Cannot. Erase' and it sound the way it does. His unhidden interest in progressive pop music from the 80s and fascination with electronica, as well as multiple hints sprinkled across the Blackfield and Porcupine Tree discographies (like 'Lazarus' or 'Piano Lessons'), are all prerogatives that Steven Wilson will fully discover and develop this side of his musical journey.

And this is why listening to his records is so satisfying - one never knows what will come next. Also adding the production values that he is known for, whatever style he takes up, it is surely going to be a gripping listening experience. This is also the reason why he is more relevant today than ever - because he follows his desires, and does not fall inside the trap of his comfort zone, like many contemporary 'prog rock' artists do.

'To the Bone' is quite different from everything else coming before, yet it is very explicitly Steven Wilson. The opening title track, with the spoken word intro and the Floyd-ish guitars is what I consider to be one of his 'classics', in a way. Resonating and memorable, this is a typical SW track, full of flavor and profundity, commenting on how truth is being manipulated, and how it could be a reason for disruption. 'Nowhere Now' and 'Pariah' rely heavily on atmosphere, and are much lighter in nature.

'The Same Asylum As Before' is another criticism on the modern world's unchanging values, implying that whoever is in power, it's always the same, and it's not rosy! A strong guitar-centered track. 'Refuge' is a fantastic suspense-ridden song, 'Permanating' is one of his lovely, enjoyable pure pop moments, and 'Blank Tapes' is a short, more vocal track, based on the interplay between him and the wonderful Ninet Tayeb.

'People Who Eat Darkness', 'Song Of I' and 'Detonation' are for me the high point on the album - all very different but all very distinct entities of their own, surely among his most fascinating and rewarding compositions. Finishing off the album is the more ambient 'Song of Unborn', leaving the listener in a state of expectation and tranquility.

All in all, the fact that Steven Wilson undertook yet another twist only proves how much of a musical chameleon he is - following his own aspirations and impressions. These are signs of a true artists, somebody who is able to challenge both himself and his fanbase at any time.