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NO-MAN

Psychedelic/Space Rock • United Kingdom


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No-Man biography
Formed in Hemel Hempstead, UK in 1987

No-Man is an island. For nearly 15 years, the UK duo of vocalist Tim BOWNESS and guitarist & multi-instrumentalist Steven WILSON has existed deep within its own shores, far from the contaminating tides of industry. NO-MAN have produced some of the most intriguing music of the last decade. Theirs is an uncompromising approach that connects the perimeters of rock and pop with a myriad of far-flung influences including neo-classical, jazz, dub and techno.

NO-MAN have produced some of the most intriguing music of the last decade. This band glanced to the past to realize its latest album "Speak". The CD is a retooled version of a cassette-only release of late '80s material. Re-mastered in the year 2002 for our exclusive pleasure, "Heaven Taste" is a collection of rare tracks, of new versions and of B-sides from the 1991 to 1995 period. "Returning Jesus" (2001) is simply splendid and includes romantic and sumptuous strings in the first track, something to be remembered!

See also:
- Blackfield
- I.E.M.
- Porcupine Tree

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NO-MAN discography


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

NO-MAN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.01 | 73 ratings
Loveblows & Lovecries - A Confession
1993
3.91 | 171 ratings
Flowermouth
1994
3.61 | 102 ratings
Wild Opera
1996
3.83 | 175 ratings
Returning Jesus
2001
4.10 | 278 ratings
Together We're Stranger
2003
3.68 | 207 ratings
Schoolyard Ghosts
2008
2.83 | 39 ratings
Love You To Bits
2019

NO-MAN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.05 | 22 ratings
Highlights From Mixtaped
2009
3.88 | 26 ratings
Love And Endings
2012

NO-MAN Videos (DVD, Blu-ray, VHS etc)

4.17 | 30 ratings
Mixtaped
2009
4.43 | 7 ratings
Love And Ebdings
2012

NO-MAN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.48 | 23 ratings
Lovesighs - An Entertainment
1991
2.77 | 33 ratings
Flowermix
1995
3.92 | 49 ratings
Heaven Taste
1995
3.21 | 47 ratings
Dry Cleaning Ray (CD mini-album )
1997
2.97 | 53 ratings
((Speak))
1999
4.02 | 28 ratings
All The Blue Changes
2006

NO-MAN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.67 | 3 ratings
Colours (7
1990
2.67 | 3 ratings
Colours (12
1990
4.10 | 11 ratings
Days In The Trees
1991
3.25 | 4 ratings
Ocean Song
1992
3.88 | 5 ratings
Sweetheart Raw
1993
3.50 | 4 ratings
Only Baby
1993
3.33 | 3 ratings
Painting Paradise
1993
2.19 | 8 ratings
Taking It Like A Man
1994
2.26 | 12 ratings
Housewives Hooked On Heroin
1996
3.00 | 2 ratings
Dry Cleaning Ray (7" vinyl single)
1997
2.95 | 11 ratings
Radio Sessions: 1992-96
1998
4.14 | 14 ratings
Carolina Skeletons
1998
3.24 | 12 ratings
Lost Songs Vol - 1
2001
3.88 | 15 ratings
All That You Are
2003
3.00 | 6 ratings
The Break-Up For Real
2007
3.59 | 21 ratings
Wherever There Is Light
2009

NO-MAN Reviews


Showing last 10 reviews only
 Love You To Bits by NO-MAN album cover Studio Album, 2019
2.83 | 39 ratings

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Love You To Bits
No-Man Psychedelic/Space Rock

Review by russellk
Prog Reviewer

3 stars The unexpected revival of the dormant WILSON-BOWNESS collaboration isn't quite the gem people were hoping for. Rather than a complex, multilayered album, or a minimalist set of introspective songs such as NO-MAN have given us before, this is more akin to ten house remixes of the one song. Fun, clever, even poignant in that self-revelatory way TIM BOWNESS has. But it's telling that this was turned out in a mutual break in their schedules, rather than being part of their schedule.

Is it any good? It's OK, but not essential by any means. Is it prog? Not really. It's a curio, rather out of place in the NO- MAN catalogue, but not surprising given WILSON'S chameleon-like tastes. If anything it harks back in form, if not quite in substance, to NO-MAN's earliest efforts. An interesting record by two professionals not trying very hard.

 Schoolyard Ghosts by NO-MAN album cover Studio Album, 2008
3.68 | 207 ratings

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Schoolyard Ghosts
No-Man Psychedelic/Space Rock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

5 stars The duo of Tim Bowness and Steven Wilson (known as No-Man) is an interesting one. Together they have created some unexpected styles with their combination of dance music or atmospheric music that still can easily find itself in a progressive music lovers library because of its uniqueness. No other artist really sounds like this. The problem is, it doesn't always work. But when it does, it is very powerful. 'Schoolyard Ghosts' (released in 2008) is a case where it works quite well in an ambience sense (for the most part). Talk about the melding of beauty and power, this is where it works for the best as the result has generated some extremely emotional and soul-wrenching music that will most likely touch even the hardest of hearts.

It took 5 years for Bowness and Wilson to bring this masterpiece of minimalist beauty together. Their two previous albums, 'Returning Jesus' (2001) and 'Together We're Stranger' (2003), both of which are quite excellent, pretty much paved the way as they hinted towards the sound that would culminate in 'Schoolyard Ghosts'. As soon as you put on this album, you are instantly touched by the extreme beauty of 'All Sweet Things'. It's as if Bowness' airy and unique vocals were made for this style of music, and the instrumentation headed over by Wilson (and several guests in the case of this album) reach straight for the heart of the listener and they don't let go. Lush and heartbreaking, it is an emotional ride that pierces the soul and one of the highlights of the album. This is followed by 'Beautiful Songs You Should Know' which sums up the purpose of the album.

The odd duck in this album is actually a pigeon, 'Pigeon Drummer', that is. This one goes to extremes, literally, and almost makes it sound out of place when it gets loud and distorted. But, Wilson is always one to throw in surprises that will catch you off guard as followers of his other, more unknown projects like 'Bass Communion' and 'I.E.M' will testify. This one will probably not sit well with many listeners as it can go from ambient to extreme without any notice, so be prepared.

The center of this album is made up of two extremely amazing tracks of beauty and emotion; the 12-minute masterpiece 'Truenorth' and what I consider the most beautiful song ever written, 'Wherever There is Light'. Both of these are masterpieces also with the more exploratory track and the heart-rending following track which makes me well up with emotion every time I hear that pedal steel guitar played by guest Bruce Kaphan. That song to me is just beauty beyond words.

The album will continue to stay with the sweet and ambient style as it goes on with 3 more excellent tracks including the more experimental and exploratory 'Mixtaped', and altogether, this makes up one of my most favorite albums ever. The power behind this album is simply beyond description for me, so it is probably best for you to judge for yourself. It might be too laid back for some people or the one strange track might be too abrasive of others, but overall, you can't deny the beauty of the 3 mentioned highlights of the album. To me, this is an absolute masterpiece, and I can't do anything but rate it as such. 5 stars.

Unfortunately, I haven't heard the bonus disc of material on the 2014 deluxe edition, so I don't know how it weighs in with the rest of the album, but for me, the 8 tracks of the original edition give a strong enough statement to merit the perfect rating.

 Love You To Bits by NO-MAN album cover Studio Album, 2019
2.83 | 39 ratings

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Love You To Bits
No-Man Psychedelic/Space Rock

Review by A Bard

3 stars When I first listened to No-Man's Love you to Bits. I first thought that this was Disco Prog if that is even a thing. This album drives on its rhythm. The best parts are when the rhythm is moving and something is soloing. This album is categorized by Pieces and Bits. The First Part, BIts is happy, poppy in its mood. While pieces feel darker. This album reuses rhythms a lot.

Bit 1: A great song that starts with a synth rhythm that evolves as the song starts. It then adds drums making the rhythm even better. The vocals are what drive this track. There are no solos in this song. It is a nice disco-like beginning to this album. 7 out of 10

Bit 2: This track is ethereal and you can hear the last track's rhythm a bit muffled. This track is just here as a transition to the next one. The main focus here is Steven Wilson's vocals which are good and are just there to tell the story of the song. 4 out of 10 it's just boring.

Bit 3: this time the rhythm is run by the guitar and it's pretty good. The drums come pretty early. The vocal is pretty cool with the distortion in it. 7 out of 10 nothing wrong with this track is just too short.

Bit 4: This track continues with the guitar rhythm but it is slowly overtaken by the synth until the middle of the song when it slows a bit down and the guitar is gone and the synth is the only thing keeping it going. Then the guitar returns and a distorted electric guitar doing a solo. I don't enjoy distorted guitar but I have to say it's a good solo because it is fast and wild. you can tell that they were messing around with the guitar. The solo lasts until the end of the song. 7.9 The song focuses on the solo and I enjoy it very much but I can still say it's good.

Bit 5: The song is a repeat of Bit 1were the drum joins faster in the song until 2;38 where everything fades out slowly. the only thing left after the fade-out is the chorus and some sort of brass instrument. 7 out of 10 because it is a repeat of Bit 5 and it good transition to Pieces 1.

Pieces 1: starts with singing and just the Brass instruments. This causes some quarter of-second silence. It has a somber atmosphere. Then some simple synth joins but muffled or very quiet. This the sequence from Bit 1. Then the vocals come back and some more simple synth is added. It was still quiet until the 3:46 mark. then it returns. no drums in this song. 6 out of 10 It is a great tone-setter for the rest of the album but it can be considered boring by some.

Pieces 2: this starts with a new rhythm. some distorted singing comes in. Then a synth solo comes that reminds me of the Canterbury scene keyboards. The keyboards are really good and my favorite solo from this album. 8 out of 10 because of its keyboards.

Pieces 3: This track is a mix between Pieces 2 and Bit 1. good vocals. I don't know what to say 6 out of 10

Pieces 4: a soundscape like the one from Shine on you crazy diamond. then suddenly collapses through distortion. 5 out of 10. too short to judge.

Pieces 5: makes a soundscape then adds piano, drums, and vocals. It's like this for the whole song keeping that somber atmosphere. 5 out of 10

Verdict: It is a good album that has great sequences and uses them creatively, but this is a double-edged sword because it makes the album feel boring sometimes. I would recommend to people who want to hear disco prog but if you're here for the build-ups and payoff I would not recommend

 Love You To Bits by NO-MAN album cover Studio Album, 2019
2.83 | 39 ratings

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Love You To Bits
No-Man Psychedelic/Space Rock

Review by MaxnEmmy

3 stars Bits and pieces are the ideas here. Love is the final heartache and the signs are pointing to waiting and apprehension. The use of sequencers is highly prevalent and tasteful. The dynamics are excellent and show how a disco record can be considered art. This is rock disguised as trance. It goes low and it goes high but it never leaves the boundaries of escape art. This band has been around for several decades and has put out many great albums. This is a departure as it veers into dance motifs, but never gives up the no-man foundation. A foundation that has a great history which is part of the English beat of the last 30 years. No-man can not release anything trivial and never have. If you review their catalog you will see its full of deep cuts that have emotion and heavy pop.
 Love You To Bits by NO-MAN album cover Studio Album, 2019
2.83 | 39 ratings

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Love You To Bits
No-Man Psychedelic/Space Rock

Review by admireArt
Prog Reviewer

2 stars A pretty good song translated (remixed) into 10 versions, well, yes it is a nice EP, now, writing 100 words about it, is kind of bizarre.

For followers of No-Man, Steven Wilson & Tim Bowness.

All versions show unexpected & creative twists, but if you are already acquainted with these kind of EPs, well, you will eventually find out your top pick.

Mine flows between tracks 9 & 10. Essential as such it is not, good news , yes it is! , but still not essential or a must,.... closer to mere good.

From my side of the fence, when you come to terms with the whole deal, it only left me wondering. Is something else is following this release, as such? That would be great, but this showcase alone? ...Yes it is worth listening to, but as a keeper, or a must? More like a collectible edible, but decent enough to recommend everyone to give it a spin, but then again if you not, well the world is not going to fall down tomorrow (I hope).

As far as rating it .........3 stars, but in PAŽs criteria a two is true to rating standars, beyond its possible downgrading implications, but actually it is what it really is .

As commented, maybe youŽll find the one version which may turn out to be a memorable one, even though , you are not in this kind of roads.

**/*

 Taking It Like A Man by NO-MAN album cover Singles/EPs/Fan Club/Promo, 1994
2.19 | 8 ratings

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Taking It Like A Man
No-Man Psychedelic/Space Rock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

2 stars This is an EP of the first single released in America for No-man. This song is a good example of No-man's dance music, before they moved on to the more lush sounds that were much better. 'Taking It Like A Man' is definitely a club house song, and at times it can be hard to believe that Steven Wilson and Tim Bowness were involved with this, but the vocals are unmistakably Tim's, airy and excellent. But not much here sounds like anything Steven Wilson has done that most of us are familiar with.

The EP starts with the 7' edit of the track and it definitely sounds radio friendly and danceable. The song fades out over 2 minutes early, but was trimmed for radio airplay. This is followed by an edited remix of the song (the Budda-Pic remix done by Teri Bristol and Marc Pichotti), which has additional keyboards added in, plus a more dance-friendly vibe. The additional keyboards are performed by Dave Sears. After this you get the original version of the track as it appeared on the U.S. edition of the album 'Loveblows and Lovecries', but it was only on that edition even though it was recorded at the same time as that album. It is just like an extended version with more instrumentals, which is mostly automated beats and electronics. The last version on this EP is the Budda-Pic Vocal Remix in it's full version. It's definitely got the rave up sound, or modern disco if you will. The remixes were commissioned by Epic, the record label, without any input from No-man.

The 12' single goes further by adding 3 more club remixes of the track. Thank goodness these were left off of the EP. The EP, however, does have 2 other tracks which are completely different songs. 'Housekeeping' is another track from 'Loveblows and Lovecries' and isn't quite so automated sounding, but is still an upbeat and danceable track. It does sound a bit more like later No-man tracks, more mature sounding, but a bit repetitive in the rhythm section, but there are places where it drops out for a nice piano led section. There is a heavier section during the 2nd instrumental break that grows more chaotic, but soon breaks down to the regular rhythmic sound again. 'Long Day Fall' is the last track on the EP, but was left off of the 12' single. This track was previously available on the 'Only Baby' single/EP and features the third No-man member Ben Coleman on violin. This has a long introduction which is led by the violin and a bit of synthesizer. The music has more in common with their later music, soft, lush and airy, but the melody isn't quite as interesting as some of their later work. This track is the hardest one to fine elsewhere and is the only real reason why you would want to get this EP, unless you are a completionist. Nevertheless, it is a nice track.

Since this EP is mostly obsolete, it really isn't worth searching for. You would be better off looking for one of their early collections or for the Loveblows and Lovecries album if you are interested in their early dance music to satisfy your curiosity about what Wilson's dance music would sound like, but only fans or completionists would be interested in this EP.

 Together We're Stranger by NO-MAN album cover Studio Album, 2003
4.10 | 278 ratings

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Together We're Stranger
No-Man Psychedelic/Space Rock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars It's hard to believe that with all the EP's and collections of rare music from No-man, that in total, all they released were 6 actual studio albums. It is their last three that was where they found their real sound, as the first three were more along the lines of complex dance music, even though it was still interesting music. By the time of this album, 'Together We're Stranger' that Steven Wilson and Tim Bowness were settling into their style, beautiful music with a huge degree of lushness and this was also the style that fit Tim's airy style of singing. Together, I don't know if they were stranger, but their unique sound was anything but strange with Bowness' unique and easily identified trademark voice and Wilson's dreamy and psychedelic instrumentation, they became a team whose sound any prog lover should recognize. The two of them made up the band, and they always had plenty of session musicians to help complete the sound.

The first four tracks on this album were actually a suite and took up the first half of the LP. Beginning with the title track 'Together We're Stranger' we are led slowly into the dreamy, atmospheric and beautiful electronics and instrumentation of Wilson. When Tim's voice comes in, it just blends in with the dreaminess of it all. Wilson's signature sound is really apparent when the guitar comes in, slowly strummed with a strong echo helping to fill in the sound. Just like all other guitar greats like David Gilmour, Steve Howe, Steve Hackett and so on, Steve Wilson's playing is his own signature style. This track, even at 8 minutes and with its floating sound, just flies by as you immerse yourself into it and you hardly realize that there is no percussion keeping rhythm here. A strange vocal effect ends the track and leads it into the next track.

'All the Blue Changes' has a bit more movement with a soft percussive sound, and Tim begins singing his pensive vocals much sooner. Another beautiful track, this one has a more memorable melody even if it is more pensive. Rhythm gets further established as keys help to build the beat and the intensity until it levels off, yet still creating tension, but the instrumental layers still have the dreamy and atmospheric quality to them. Later, you will hear Wilson's voice come in as harmonics. The last part of the track just floats as it calms with the spacey sound of fading instruments. This also transitions to the next track.

'The City in a Hundred Ways' begins with layered reed instruments creating harmonic sounds with some dissonance that always tends to resolve itself. This lasts for only a few minutes before it follows into the last track of the suite. 'Things I Want to Tell You' begins with chiming meandering guitar and Bowness picks out his beginning note from the thin air and the pensive feeling continues. I have no idea how he can pick out his melody from the minimal and wandering guitar, harmonium and electronics and he stays pitch-perfect. Now that is talent. Things end minimally with just a barely discernable electronic drone.

Next comes the 10 + minute 'Photographs in Black and White'. Beginning with a slow acoustic strum and atmospherics, Tim again starts singing with a much more melodic sense this time. There is minimal toned percussion in the background and other keys slowly being added in. When the clarinet comes in, its almost a surprise, but a stirring and welcome one as it penetrates through your ears into your soul. As it continues, an organ becomes apparent which helps anchor the track. Then a nice chiming guitar with keys swirl together as Bowness' vocals become manipulated. The bass clarinet gives the song a deepness and then heavy guitars are added in contributing to an amazing atmosphere that is soft and dark at the same time. The track is amazingly lovely and it begs you to pay attention to it.

'Back When You Were Beautiful' starts with a simple electric piano and vocals with strummed guitar coming in later. This track is set up more like a standard song but still continues with the lush and peaceful yet slightly dark atmosphere that has permeated the album. The lushness of this music simply speaks to my soul. And yes, that is a banjo you hear there towards the end also. 'The Break-up for Real' is a bit more upbeat, but no percussion, just vocals and a faster strummed guitar. There's a bit of minimal percussion, reverb guitar and piano added in later. Wilson adds his voice towards the end. On the newer editions of the album, there is another version of this track called 'Drum Mix' which I haven't heard, but I would assume there are drums added to the track. There is also another track, which is also added to the vinyl version called '(bluecoda)' which consists of sustained keyboard chords, a wandering clarinet and the soft vocals of Bowness for a short 2+ minute song.

This album is quite minimal for the most part, but is a very lush and lovely album that, even with it's minimal nature just seems to fly by. The melodies are lovely, the instrumentals are perfectly layered and atmospheric and the music is still dynamic. I love this music, but even so, it still isn't the masterpiece that their next album 'Schoolyard Ghosts' would be. It is close though, and if it were possible, would get 4.5 stars.

 Wherever There Is Light by NO-MAN album cover Singles/EPs/Fan Club/Promo, 2009
3.59 | 21 ratings

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Wherever There Is Light
No-Man Psychedelic/Space Rock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars This is an EP by No-man which features "Wherever There is Light" from the album "Schoolyard Ghosts". Is it possible that this is one of the most beautiful songs ever written? I absolutely love this song. It is a perfect song for Tim Bowness' vocals, which are mesmerizing and aching, but you also get a guest flute from Theo Travis and pedal steel guitar from Bruce Kaphan on top of this, if that weren't already enough in itself. There are no words for this song, other than absolutely beautiful, poignant, and emotional.

The next two tracks are exclusively made for this EP. "Death Was California", like the title track, has got that alternative-country flair. It is also a nice song, with a pensive feel and Steven Wilson's atmospheric guitar work. This one is more ambient than the previous, but still a lovely track that fits right in next to the title track. "Counting" has more of a percussive rhythm to it than the previous two tracks. It is still pensive in the beginning, but it suddenly explodes into life halfway through with more guitar work and a dark feel. After the previous soft feel of the EP, this comes as a surprise, but it isn't out of place.

Following this, are 2 live tracks taken from the Autumn 2008 tour. The track "Carolina Skeletons" originally from "Returning Jesus" is given the live treatment here, and is a great pick for this EP. Another beautiful song, the emotional quality is even enhanced by the live performance, and with a live band, it works to add even more depth to the track than the studio version. The electric violin/guitar duet by Steve Bingham and Wilson is amazing and works to build the tension needed at the end of the song. "All the Blue Changes" originally from "Together We're Stranger" is the 2nd live track, this is another beauty of a song that is even better in this live setting for the same reasons as the previous track. This one builds tension throughout the track to the explosive ending. Amazing!

This is an excellent EP and is a good example of No-man's sound in the later part of their career. It is a good way to be introduced to their later music. Unfortunately, it had a limited pressing and might be difficult to find, but it is one that is worth searching for because of the haunting beauty of the songs. But if you can't find it, at least get yourself hooked up with the album "Schoolyard Ghosts" so that you can listen to "Wherever There is Light" if nothing else. It is such a beautiful, amazing song. Yes, I believe it is one of the most beautiful songs ever. I could easily give this 5 stars, but since it is so short, I must give it 4.

 Wild Opera by NO-MAN album cover Studio Album, 1996
3.61 | 102 ratings

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Wild Opera
No-Man Psychedelic/Space Rock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Wild Opera is No-man's 3rd official full length LP. It was released in 1996, 2 years after the critically acclaimed 'Flowermouth'. It was also released on a new label than previously, the same label used by 'Spacemen 3' and 'Bark Psychosis'. The album is full of tracks that are still reminiscent of their previous album, but this time the songs are more improvised than they were previously. The dubs and loops used in this album are taken from sessions that were improvised, not written out and planned as previously. The songs are also deal more with dark subjects, and the tone of the songs also reflect that.

Even though the songs are composed on an improvised basis, they are mostly short, and with one exception, stay around the 5 minute mark. In my opinion, this actually makes them not only more accessible, but more enjoyable. Previously, No-man's songs reminded me of more dance floor music, while this album approaches the art rock style and is an important stepping stone towards the bands more progressive style.

Of course you still get Tim's lush vocals, but the influence of Steven Wilson is so much more apparent on this album. There are many times throughout the album when you can detect snippets of ideas that are similar in sound to Porcupine Tree's 'Voyage 34' or 'The Sky Moves Sideways' and also Wilson's early electronic music. For example, the flute in the trip-hop song 'Pretty Genius' is very reminiscent of Wilson's early sound. The turn from a distinct hard beat to psychedelic guitar meanderings in 'Radiant City' is an obvious Wilson trick.

There are a lot of jazz leanings in the feel of the music also. 'Sinister Jazz' and 'Taste My Dream' are great examples of this on the album, among other tracks. For the most part, the music is lush, dark and above all, very interesting. The trip hop aspects are there too, along with plenty of art rock aspects. You can feel the move the band is making towards the more sophisticated atmosphere and sound of what their future albums will sound like. 'Portishead' fans will appreciate this sound, as it is in the same vein as their music, maybe a little more lush, but many times just as experimental.

There are a few less interesting songs here, namely 'Infant Phenomenon' and 'Libertine Libretto', but other than these slightly mediocre tracks, there is plenty of originality and inventiveness to keep the listener satisfied. There is a slight tendancy towards ambience and the dance beat feeling is still there, but the music is a huge step forward throughout the album. Another great track here is 'Dry Cleaning Ray' which features an amazing and unique guitar solo. Steely Dan fans will appreciate 'Sheeploop' and some of the other tracks that lean a bit jazz-ward. Prog fans will appreciate that Mel Collins, Richard Barbieri and Robert Fripp provide much of the sample material on this album, and you will hear their influence on the album (for example; 'Radiant City', 'My Rival Trevor' and 'Time Travel in Texas') including some Frippertronic aspects. This turn more experimental and louder, with more guitar influence, on the last half of the album.

This album holds something for everyone. If you are not sure whether you like trip hop and dub/loop influences in Progressive Rock, then you should hear this album. Even though the lyrics at times get a little repetitive, everything else going on here will hold your attention and guarantee your returning to this album and this band many more times. The album is not their best, but it is still great, but the best is yet to come, and this album is a giant step towards that. Not only that, but it gets better everytime you listen to it. That is always a great indication of an excellent album. My favorites are always the one that have to grow on you. And there is plenty here to keep your intelligence challenged and your tastes appeased. Great addition to your collection.

 All That You Are by NO-MAN album cover Singles/EPs/Fan Club/Promo, 2003
3.88 | 15 ratings

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All That You Are
No-Man Psychedelic/Space Rock

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars This is a 5 track EP starting off with the extremely beautiful song "All That You Are" in a slightly edited form. This is one of No- Man's most beautiful songs, simple with Tim Bowness' amazing vocals, Steven Wilson's subdued guitar and very atmospheric instrumentals. This track comes off of the album "Returning Jesus" and the full version is found on that album. The remainder of the EP contains 4 other unreleased tracks, that could have been outtakes, but are actually as top rate as the title track.

"Until Tomorrow" is Tim being accompanied by a strummed and plucked banjo. This is far from just another acoustic song though, it is another lovely example of Tim's emotional, spacey vocals which are showcased beautifully here. An atmospheric electric guitar joins in on the instrumental break, and then goes away on the 3rd verse. No percussion, just simple beauty here. "Chelsea Cap" is available on other compilations, but at the time was unavailable until this release. This one is a full band song, The chorus has harmony reminiscent of many Steven Wilson songs, and almost could have been a Porcupine Tree track, except with Tim's lush voice. On the instrumental breaks here, we are joined by a flute played by Theo Travis., who has worked with Robert Fripp from King Crimson and many jazz musicians. There is also a lovely guitar solo here too, albeit too short. Colin Edwin from Porcupine Tree also joins on this track on bass.

"Darkroom" starts with a subdued piano and programmed percussion and Bowness almost whispering/singing the melody which is very dark sounding. It stays dark and mysterious until about 3:20 when percussion kicks in with synth accompaniment, then later strange guitar growls and moans come in. An interesting song with a nice, dark atmospheric mood. The EPs ends with a Lo-fi version of the 2nd track "Until Tomorrow", which could either be lo-fi as it says, or just processed to sound that way, like on an old radio or phonograph. This adds to the atmosphere of the previous track, but is mostly not necessary.

This is a great EP that might be a little hard to find, but contains some great tracks that would have fit well on any album. Most of the tracks can be found on collections, but it might be hard to find them all together as on this recording. This would be an excellent addition, even though it is short, to your prog rock collection. Mysterious, haunting and beautiful, the songs all fit together quite nicely.

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

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