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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

NO-MAN Videos (YouTube and more)

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Returning JesusReturning Jesus
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Wild OperaWild Opera
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Together We're StrangerTogether We're Stranger
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NO-MAN discography

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

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

2.98 | 66 ratings
Loveblows & Lovecries - A Confession
3.91 | 160 ratings
3.60 | 97 ratings
Wild Opera
3.82 | 164 ratings
Returning Jesus
4.08 | 262 ratings
Together We're Stranger
3.62 | 190 ratings
Schoolyard Ghosts

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

4.11 | 19 ratings
Highlights From Mixtaped
3.88 | 24 ratings
Love And Endings

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

4.20 | 28 ratings
4.50 | 6 ratings
Love And Ebdings

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

2.37 | 19 ratings
Lovesighs - An Entertainment
2.72 | 29 ratings
3.91 | 44 ratings
Heaven Taste
3.18 | 42 ratings
Dry Cleaning Ray (CD mini-album )
2.90 | 48 ratings
4.00 | 26 ratings
All The Blue Changes

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

2.67 | 3 ratings
Colours (7
2.67 | 3 ratings
Colours (12
4.10 | 11 ratings
Days In The Trees
3.25 | 4 ratings
Ocean Song
3.88 | 5 ratings
Sweetheart Raw
3.50 | 4 ratings
Only Baby
3.33 | 3 ratings
Painting Paradise
2.19 | 8 ratings
Taking It Like A Man
2.22 | 11 ratings
Housewives Hooked On Heroin
3.00 | 2 ratings
Dry Cleaning Ray (7" vinyl single)
2.95 | 11 ratings
Radio Sessions: 1992-96
4.14 | 14 ratings
Carolina Skeletons
3.21 | 11 ratings
Lost Songs Vol - 1
3.86 | 13 ratings
All That You Are
3.00 | 6 ratings
The Break-Up For Real
3.54 | 18 ratings
Wherever There Is Light

NO-MAN Reviews

Showing last 10 reviews only
 Taking It Like A Man by NO-MAN album cover Singles/EPs/Fan Club/Promo, 1994
2.19 | 8 ratings

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

Review by TCat
Collaborator Eclectic 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
4.08 | 262 ratings

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

Review by TCat
Collaborator Eclectic 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
3.54 | 18 ratings

Wherever There Is Light
No-Man Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic 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
3.60 | 97 ratings

Wild Opera
No-Man Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic 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
3.86 | 13 ratings

All That You Are
No-Man Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic 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.

 Returning Jesus by NO-MAN album cover Studio Album, 2001
3.82 | 164 ratings

Returning Jesus
No-Man Psychedelic/Space Rock

Review by Progkid

4 stars Dreamy Soundscape...just beautiful. It is my favorite No-Man album and if you haven't heard it yet you need to check out this album. Colin Edwin plays the bass and Ohh my favorite Theo is featured a lot in this album. Great composition by Mr. Steven Wilson and as always the Angelic voice of Tim is great as usual. This is the best album for bed time as it'll soothe, mystify and capture you in its sound and you'll feel as if you don't live in this world anymore. The mood of the album is somewhat sad but its beautiful . I love the sax playing by Mr. Theo on this album it seems like it's a a ''jazz rock atmospheric space rock prog album''.. Lyrically the album is very touching with songs like Returning Jesus and Outside The Machine (great backing vocals by Steven Wilson) . Carolina Skeletons was released as a singer quit prior to the release of the album. This is a great track like a lullaby. The Centerpiece of the album is Lighthouse which is a 8 mins classic. The albums closes with the heartfelt All that You Are. This album doesn't really have weak moments. For me the highlights are No Defence, Carolina Skeletons, Returning Jesus,(Tim cries in pain "I don't want to stay a million miles away") Outside the machine, these are my favorite No-Man tracks ever.
 Returning Jesus by NO-MAN album cover Studio Album, 2001
3.82 | 164 ratings

Returning Jesus
No-Man Psychedelic/Space Rock

Review by Prog Leviathan
Prog Reviewer

3 stars This hidden gem from No-Man, former project of Steven Wilson and vocalist Tim Browness, features a romantic, melancholic pop sound the drifts through ambient colors, restrained but compelling instrumental work, and lush production. It's not an amazing album, but it is a very good one, and will appeal to listeners comfortable with gentle tones and a bit of melodramatic poetry in their music collection.

Returning Jesus creates an effect that is dominated by three things: the open space created by the band's very subtle playing, warm melodies that are like pop-tunes on ambien, and an emotional resonance captured by the vocals and sometimes abstract instrumental moments. The songs often feel more like canvases to which sounds are painted on. This creates a slow-build effect that is deceptively simple and patient. Browness' vocals are emotional and very melodic, with a breathy vibrato that gives the album much of its romantic feel. Overall the result is quite effective, though I can see it reaching the heartstrings of some more than others. Though you may find yourself humming some of the stronger melodies even if you find his singing bland or limited in range.

For me the the highlight of this album is the class that goes in to the production. It's very well recorded and played, creating full sounds to enjoy. If you're seeking something mellow and artsy, but not a flat-line of ambient soundscapes, then check out Returning Jesus. It combines the trip-pop and artistic execution in just the right amount. It's not the best of the No-Man library, which I would give to either of the albums which follow this one, but it's a worthy release with lots to enjoy.

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

 Heaven Taste by NO-MAN album cover Boxset/Compilation, 1995
3.91 | 44 ratings

Heaven Taste
No-Man Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

3 stars This collection is an interesting set of 5 b-sides from No-Man recorded between the years 91-93. There are 4 regular sized tracks and 1 very long mostly instrumental track over 20 minutes long. It is the size of a regular album, but it is a collection of rare but previously recorded tracks.

The first 4 shorter songs are all excellent, emotional, moving, lyrical and even rhythmical. The big standouts here are "Long Day Fall" which features some great violin from former member Ben Coleman, and "Road" which is their cover of the song by Nick Drake. The song "Babyship Blue" was a previous b-side that was only instrumental, and the nice surprise on this collection is that this time around there are lyrics that appear halfway through the song.

The title song of this collection is the long track. It is a dance oriented ambient track that continues on for over 20 minutes. It is nice, but it's nothing special really. It's a floating piece with a mostly constant rhythm that changes a few times, sort of similar to early Porcupine Tree long jams, but leaning towards being more ambient, but not as ambient as Bass Communion as the sound is not really minimalistic, it's dance-ambient.

This is a pretty good collection for No-Man fans, but just know that yes you get great vocals by Tim Bowness and some of that ambience from the last track is courtesy of Richard Barbieri. Of course, Steven Wilson's influence is there and obvious. Not a bad collection, just not their best collection.

 Flowermix by NO-MAN album cover Boxset/Compilation, 1995
2.72 | 29 ratings

No-Man Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

3 stars This is the companion remix compilation for "Flowermouth" which I consider a masterpiece. This collection however is not consistently good throughout like that album. It is completely made up of remixes of tracks from Flowermouth, but, except for a few exceptions, they don't really add to or improve the original tracks. We can talk about these tracks a little bit and you can decide for yourself if it merits the effort to locate this compilation.

The collection starts off with "Angeldust" which is a great remix done by Steven Wilson of the track "Angel Gets Caught in the Beauty Trap". The remix features guitar and soundscapes from Robert Fripp and it stands out because of the effective use of Frippertronics and improves the original track. It also features sax from Mel Collins (also originally from King Crimson) spotlighted even better than the original track. However, the Flowermouth reissue contains this particular track as a bonus track, so you are just as well off to get the track on that album. The next 3 tracks are "Faith in You" (the first instance of "You Grow More Beautiful" remixed by Prophets of Bliss) which has a hip hop sound that moves into electronic techno territory that to me distracts from the beauty of the original track, "All I See" which is a repetitive remix of "Soft Shoulders" made for the dancefloor and not for casual listening, and "Natural Neck" which doesn't do anything for me. These 3 tracks are not even close to challenging except for the effort it takes to stay interested in the music and they add nothing to the originals.

"Heal the Madness" is a great remix that starts out very atmospheric and builds from a spacey, somewhat ambient sound to a nice beat that actually stays interesting because of the lack of extensive repetitiveness that is overwhelming in the previous 3 tracks. After that you get another version of "You Grow More Beautiful" re written by SW and featuring a funkier sound than the original. This one is probably the only "traditional" sounding song on the entire album and adds a different character to the song than the original without ruining it.

After that, you get 2 more repetitive remixes, "Sample" which is a techno sounding version of "Simple" without any kind of feeling that made the original great, including the fact that the vocal loop from Lisa Gerrard is either missing or pushed so far into the mix that it means nothing, and next is "Why the Noise?" which is a reworking of "Teardrop Fall" with the vocals remaining fairly intact, but it is rougher sounding than the original and more dramatic, but not really worth the effort of the remix.

Last of all is "Born Simple" which is a 12 minute foray into Frippertronic soundscapes and SW electronics and it sounds more like SW's other project Bass Communion than it sounds like a No- man remix. It is a great example of Fripp's atmospheric guitar special effects put to effective use, but it is also available as a bonus track on the original album's reissue, although it is about 3 minutes shorter than the "Flowermix" version.

In my opinion, even with the great tracks on here, it still isn't worth searching this one out. You are better off finding the amazing "Flowermouth" album where at least you get 2 of the 4 better tracks that are on this compilation. The other 2 great tracks are not enough to redeem the rest of the compilation from it's repetitiveness and inability to add much to the original album. Taking this compilation on it's own merits though gives it a good rating, but it really isn't essential especially with the bonus tracks now available on "Flowermouth"

 Flowermouth by NO-MAN album cover Studio Album, 1994
3.91 | 160 ratings

No-Man Psychedelic/Space Rock

Review by TCat
Collaborator Eclectic Team

5 stars Flowermouth is No-Man's 2nd full album and what a beauty it is. It is full of great, atmospheric sounds, sometimes ambient in a few short passages, sometimes featuring drum loops you can dance to, other times offering an atmospheric jazz/rock fusion and other times discordant sounds. Each track has it's own great characteristics and surprises, the one constant being Bowness' airy vocals which work in every scenario presented here.

This album is also loaded with guest artists that add to the quality of this music. It's a huge thing first of all that the usual two man crew of Tim Bowness and Steven Wilson are helming the band and we are in capable enough hands right then and there, but you also get so much more here. In "Angel Gets Caught in the Beauty Trap", you get the muted jazz trumpet sounds of the great Ian Carr, in "Shell of a Fighter", you get full on space rock sounds of Wilson's Porcupine Tree co-hort, Richard Baribieri, and in the beautiful "Simple" you get looped vocals of Lisa Gerrard from Dead Can Dance that add to the mystery of that song. On top of that you even get some killer guitar solos from Steven Wilson and plenty of evidence of his involvement throughout the album, even though the overall sound is far from Porcupine Tree, but it is still brilliant.

Okay, so if that isn't enough for you, let's throw in 2 King Crimson greats, Robert Fripp who plays guitar on 5 of the tracks and adds some Frippertronics on 6 tracks (including the 2 bonus tracks) with 'Born Simple' being all instrumental with all Frippertronics and Steve Wilson's electronics making for something that sounds more like Wilson's other project, Bass Communion. Also, Mel Collins from the earlier (and also most recent) incarnations of King Crimson plays sax and/or flute on 3 of the tracks (including a lovely flute solo on the amazing song "Animal Ghost"). What other excuse would you need to check this album out?

The other reason for the importance of this album is the excellent musicianship, production and songwriting prevalent throughout this album. Everything here is utilized and executed wonderfully. The overall sound is atmospheric like I said before but with so much more thrown in to keep it interesting. The entire album, even with all these great musicians participating, is very cohesive even in it's variety. There is plenty here for space rock fans, for electronic fans, for jazz fusion lovers and yes even some passages that would please avant garde fans. All of this is tied together by Tim's vocals and Steven's instrumentation. No-Man was a very talented band, but there were only a few of their albums that were able to reach the essential status. This is one of them. There is quite a varied amount of No-Man material out there, most of it hard to find in the U.S., but this album is definite must-have for Steven Wilson fans, you definitely hear a lot of his influence here. Also, KC or Robert Fripp fans should search out this album because he has so much influence and guest time on this album to be considered a band member.

Very psychedelic at times and very complex and jazzy at others, yet the album is very accessible. This it a great doorway into the music of so many artists, but also for Progressive Rock in general. It is an underrated masterpiece and should be explored by all lovers of the genre.

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

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