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To The Bone
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To The Bone
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MP3 Music, August 17, 2017
"Please retry" | $9.49 | — |
Vinyl, Limited Edition, August 18, 2017
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| $34.24 | $37.75 |
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From the brand
Track Listings
1 | To The Bone |
2 | Nowhere Now |
3 | Pariah |
4 | The Same Asylum As Before |
5 | Refuge |
6 | Permanating |
7 | Blank Tapes |
8 | People Who Eat Darkness |
9 | Song Of I |
10 | Detonation |
11 | Song Of Unborn |
Editorial Reviews
Steven Wilson will release To The Bone - his expansive, brilliant fifth album, via Caroline International August 18th. It is the follow up to 2015's Hand. Cannot. Erase. A gloriously dynamic modernist pop record as imagined by the UK's biggest underground artist, To The Bone is Steven Wilson's hat-tip to the hugely ambitious progressive pop records of his youth (think Peter Gabriel's So, Talk Talk's Colour of Spring, Tears for Fears Seeds of Love).
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.47 x 4.92 x 0.39 inches; 2.75 ounces
- Manufacturer : Virgin Music International
- Original Release Date : 2017
- Date First Available : May 8, 2017
- Label : Virgin Music International
- ASIN : B072HR5LTT
- Number of discs : 1
- Best Sellers Rank: #12,611 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #6,264 in Rock (CDs & Vinyl)
- Customer Reviews:
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Without question, from a lyrical perspective, Wilson has moved from portraying lonely/desolate/eccentric individuals to illuminating the circumstances/reality of those who surround us every day – specifically to the “I” of me and you. Not only are these Wilson’s most direct and relevant lyrics to date, but, more importantly, they represent the truth of the world around us that can’t be ignored – one man’s truth is another man’s death sentence, either physically, emotionally or spiritually. And songs like the beautifully crafted “Refuge” reference real world scenarios that have become a daily news item. “Pariah,” one of the best songs here (and one of a few that feature the ethereal Ninet Tayeb on vocals) perfectly chronicles the state of a mind addicted to all of the things we think are so important to keep up with on a daily basis. Similarly, the sensual “Song of I” – featuring the sultry voice of Sophie Hunger – points out the “self-centered” nature of our perpetually “addicted” culture. All hope is not lost, though, as “Song of Unborn” – an absolutely beautiful song – preaches (about as much as you will ever hear from Wilson in this regard) that “It’s not the years that pass/It’s about the moments that last forever in you … Don’t be afraid to die/Don’t be afraid to live/Don’t be afraid.” Amen.
Musically this album shines as well, but don’t expect the lengthy indulgences of albums that have gone before. With the exception of the keyboard contributions of Adam Holzman (and the aforementioned vocals of Tayeb), Wilson has a whole new consortium of partners this time. Craig Blundell and Jeremy Stacey share the drums while Wilson himself plays most of the keyboard, bass and guitar parts. Beggs does make an appearance on “Permanating.” The addition of the harmonica (Mark Feltham) adds a new texture on a few tracks. The sound quality is exceptional; you can actually listen to these songs at all volumes and experience no “listener fatigue.” There is a bit more guitar riff driven rock and roll here (title track a great example) and much less ambient/experimental focus. Wilson said he wanted to make better crafted songs and I think it is fair to say he succeeded in that regard.
In many ways, To The Bone is the natural progression of what Wilson started on Hand.Cannot.Erase. Elements from songs like the title track from that release and “Perfect Life” show up here in both content and musical direction. And while I prefer the deep conceptual nature of Hand.Cannot.Erase, and the eerie vibes of Grace For Drowning I must confess that I love these songs more and more with each listen.
Vinyl Version
Finally got my vinyl and believe this is a good pressing of the album. Its 45 RPM and 180gm black vinyl so its weighty and quality both aesthetically and aurally. It comes in double LP gatefold with included printed album sleeves ( lyrics on disc 1 sleeve and credits on disc 2) and paper sleeves as well. Audiophiles will still want Mofi or similar sleeves for the record itself because the included paper sleeves are inner-lined with paper on one side and plastic on the other. One of mine was quite folded up so I discarded both in favor of the Mofi sleeves I used on all my vinyl. The download code is included. This is a thick outer jacket which can easily accommodate both the record in Mofi plastic sheath and printed sheath.
I think To The Bone sounds phenomenal on vinyl but this should not be surprising in that this is purportedly inspired by the more melodic prog of the 80's - an era when vinyl was still popular. As I have state previously, I don't like the "pop" tag that has been attached to this release. To The Bone focuses more on melody and catchiness, but that hardly makes it pop in my mind. This album still sounds like Steven Wilson doing his thing. And these slightly more accessible tunes will likely bring in very few new fans for that matter, but I'm enjoying it more each spin. "Detonation," which is by far the most traditional "proggy" tune in the Wilson sense, shines on the vinyl release, but all of the songs breathe nicely here. I can't help but feel To The Bone is a more truly "solo" album than anything Wilson has released to date. As much as I loved Raven, I felt like it wasn't really a "solo" effort - more of a band effort, very instrumentally dense. And no, I don't like this more than HCE, or even GFD, but its very enjoyable in its own right and To The Bone is every bit as audibly enjoyable as its predecessors.
BD
The Blu-ray contains 96/24 5.1 DTS, 96/24 5.1 LPCM and 96/24 2.0 LPCM and an all instrumental version of the main tracks with no bonus tracks or demos. Unfortunately the only way you can score those demo versions is with the now extinct artbook version. In any case, from an audio standpoint the 5.1 versions are phenomenal. I prefer the 5.1 LPCM version over the DTS version for general listening but some pretty amazing things pop out of the music on the DTS mix as well, especially if you are willing to park yourself in the center of your sound system for the better part of an hour. Oddly, the screensaver images during the music tracks are variations on Wilson’s head, but some of the effects, especially with the song titles, are cool.
On the video side, we only have the two song videos here - "Pariah" and "Song of I" - which is pretty Spartan. However, the "making of" video is interesting on several levels. First, it is done in typical Lassa Hoile fashion, so represents not merely just a video recording of musicians talking and playing, but instead creates some tension and mood with interesting/atypical camera shots and image effects. Those who love Hoile's work will enjoy this aspect, but those who don't like his style or merely just want the documentary/discussion you may find some of this annoying. Second, when you compare this documentary to the "making of" video from the Raven sessions (more of a band effort) it becomes readily apparent that To the Bone is truly a solo artist album - essentially a collaboration of Steven Wilson with producer Paul Stacey. These two are clearly the principals. While the interactions with the "guest" musicians are interesting, they are quite limited. Third, and most fascinating to me, this documentary showcases Paul Stacey and his incredible studio, which in and of itself is a museum of analog recording equipment. Given the chaotic and seemingly disorganized mass of cables, effects tools and vintage instruments on display it is a wonder how it all came together on this record. I was also left feeling that this documentary is integral to understanding more about To the Bone and why it sounds the way it does, both in terms of production quality and composition. On a final note, when you hear these songs, during their recording process, being broken down into parts, there isn't anything that sounds remotely like pop.
Once the driving force behind Porcupine Tree, he is a multi-instrumentalist, producer, and sound engineer who has worked with many bands as diverse as Opeth, Yes, and Tears for Fears. His works have won him four Grammy Nominations, countless awards, and many fans, yet the talented Wilson remains very much an underground artist.
Reluctant to stick to a genre, Wilson returns on August 18, 2017 with his fifth solo album, entitled To the Bone. While five albums does not seem like much, keep in mind, Wilson has been a part of many projects over the years since he began playing professionally in 1983. Projects including the aforementioned Porcupine Tree, Incredible Expanding Mindfuck, No Man, Blackfield, and Storm Corrosion, all of which have kept him busy creating music without generating the fame one might expect.
Released through Caroline, To the Bone explores a variety of themes, unlike his previous album, 2015’s Hand. Cannot. Erase., which concentrated on the story of Joyce Carol Vincent, a woman who lay undiscovered for three years in her home after she died. In this new collection of songs, he visits politics, religion, and truth, but each ends with the same conclusion – we have seriously messed up the world we live in. Though the resolution is bleak, the general feel of the album is anything but, in fact, it is uplifting and joyful. Clearly influenced by artists such as Peter Gabriel, Radiohead, and Depeche Mode, the music has its roots in the ’70s and ’80s. This in mind, it is far from being stuck in the past, it strides into the future, leaving it with an openness that it does not belong to any one decade, but spans time.
To create the work, Wilson worked with a great many artists. In several songs he collaborates with Ninet Tayeb, an Israeli singer whose voice is a perfect fit with Wilson, the Experimental Guitarist David Kollar, and Nine Below Zero’s Harmonica Player Mark Feltham. Additionally, ex-Kajagoogoo Bassist Nick Beggs also provides Chapman Stick, Adam Holzman delivers on keyboards, while drums come from Jeremy Stacey and Craig Blundell. Also, XTC’s Andy Partridge co-composed on the title track “To the Bone” as well as “Nowhere Now” while Paul Stacey (twin to drummer Jeremy), who has worked with Oasis and The Black Crowes, is credited as co-producer and engineer. All this in mind, To the Bone is a very English sounding album and it feels very organic and wholesome, it is Scones & Clotted Cream or Homemade Victoria Sponge, not your typical generic mainstream offering.
Opening with the title-track, “To the Bone” commences with some hard-hitting spoken words from American Jasmine Walkes, which will cause the listener to examine their own prejudices through the song. A mighty mix of ’80s Pop, ’70s Soul, and current day issues, it features a beat that catches you unawares with a Bossa sway and bluesy guitar riffs. Continuing on with “Nowhere Now,” Wilson begins a slow build, ever rising, the song looks back at Earth from space with a hippyish optimism and cosmic harmonies. Then, “Pariah” is an ethereal introspective where Wilson is first joined by Tayeb, whose voice is a perfect mix of gravel and angel. Entirely captivating, the mood of the song is uplifting, yet deals with darkness in everyday life. It will lift you onto a different plain, simple strumming juxtaposed with exhilarating musical backing, that makes this song extraordinary.
More of a Rock-like number with a high falsetto vocal at times, “The Same Asylum As Before,” uses delightful melodies and some beautiful chorus lines mixed with some ’80s Synth Pop, giving its cynical verdict on society. Then, “Refuge” takes off when it reaches the harmonica solo before making a leap to the heavens with amazing instrumental segments. A funky ’70s Disco rhythms and Synth Pop beats mark “Permanating” as a song that will make you want to dance. This in mind, it is another song where Wilson looks back at Earth from high above the clouds, this time with a disco mirror ball hanging in the sky; it is fast, high energy, and joyful.
Later on, with the ’70s vibe of Led Zeppelin or Carol King, “Blank Tapes” is a break up song. Sad and poignant, it again features Tayeb and is a very short song compared to the opuses that surround it. This in mind, it also has a strangeness that will make one wonder what is the hidden meaning trapped within. Thereafter, Wilson takes a turn for the darker side of human nature next on “People Who Eat Darkness” when he considers the impact of discovering the person you pass everyday, your neighbour, is actually a terrorist and how that would make you fear people. However, with its delicate acoustic and ’80s electric mix, the style keep the song from being depressing, but instead it has a vibrancy that is hard to ignore. The Swiss multi-instrumentalist Jazz and Blues singer Sophie Hunger is featured on “Song Of I,” a haunting aria about compromising for someone, something Wilson is not willing himself to do, putting his music first.
Moving forward, “Detonation” is partially inspired by the news of the terrorist who attacked the gay club, how he used religion as an excuse to kill, even though he was not a religious man, something very cold and calculating. A dark and mysterious song, at over 9-minutes long, it is an epic masterpiece, changing pace and feel throughout. Intense and highly emotive, it includes some long segments of instrumental interludes with the creativity levels of someone like Nik Kershaw and are sure to impress. Lastly comes “Song of Unborn,” a song from the perspective of a baby not yet born, and the hope that comes with new life, the potential to be anything and how life dictates what those choices will eventually be. A spiritual song with a choral section, soprano choristers give the song a hymnal quality that is a dramatic end the album, and quite profound.
A serious contender for album of the year, To the Bone oozes style and creativity in a unique, yet satisfying blend of genres. Art and music combined into a thrilling blend that you just want to keep listening to. It is both mysterious and spiritual, beautifully produced, high quality, and sublime musicianship. Simply put, it is a stunning and evocative mix of songs that will have a huge impact on older listeners, reaching out to his own peers who remember when music had a soul and songwriting was the key to a hit tune, not hype and social media skills. To the Bone 5 out of 5 stars.
Top reviews from other countries
Reviewed in Brazil on October 11, 2023
El álbum suena fabuloso, cálido pero detallado, característico de su estilo. El empaque es un digipack muy bonito y que se siente muy suae al tacto, les recomiendo colocarle algún tipo de funda para que no se dañe. Mi paqete llego a tiempo y sin daños.
Será também uma excelente porta de entrada para quem não conhece o seu trabalho, pois consegue ter várias vertentes (inclusivamente uma vertente mais pop!)