Steven Kolter

Over the past decade, Steven Wilson's (Porcupine Tree) relationship with prog rock has grown increasingly intimate. He previewed a killer new band on the live album Get All You Deserve - woodwind/multi-instrumentalist Theo Travis, keyboardist Adam Holzman, session bass and stick player Nick Beggs, drummer Marco Minnemann, and guitarist Guthrie Govan - put a diverse, sophisticated face on Wilson's 21st century brand of the genre. The Raven That Refused to Sing and Other Stories is their first studio outing. Wilson was also able to coax Alan Parsons out of semi-retirement to co-produce and engineer the effort, and he fully committed: the album's crystalline, detailed sound and spacious ambience reflect some of his best work behind the boards…

Steven Wilson’s new album The Future Bites is an exploration of how the human brain has evolved in the Internet era. As well as being Wilson’s phenomenal sixth album, The Future Bites is also an online portal to a world of high concept design custom built for the ultra-modern consumer. Where 2017’s To The Bone confronted the emerging global issues of post truth and fake news, The Future Bites places the listener in a world of 21st century addictions. It’s a place where on-going, very public experiments constantly take place into the affects of nascent technology on our lives. From out of control retail therapy, manipulative social media and the loss of individuality, The Future Bites is less a bleak vision of an approaching dystopia, more a curious reading of the here and now.

Steven Wilson’s new album The Future Bites is an exploration of how the human brain has evolved in the Internet era. As well as being Wilson’s phenomenal sixth album, The Future Bites is also an online portal to a world of high concept design custom built for the ultra-modern consumer. Where 2017’s To The Bone confronted the emerging global issues of post truth and fake news, The Future Bites places the listener in a world of 21st century addictions. It’s a place where on-going, very public experiments constantly take place into the affects of nascent technology on our lives. From out of control retail therapy, manipulative social media and the loss of individuality, The Future Bites is less a bleak vision of an approaching dystopia, more a curious reading of the here and now.

What a versatile artist Steven Isserlis is. Having made his name as a sympathetic interpreter of a wide variety of romantic and modern music, here he shows he can be just as persuasive in eighteenth-century repertoire. His stylistic awareness is evident in beautiful, elegant phrasing, selective use of vibrato and varied articulation, giving an expressive range that never conflicts with the music’s natural language. In the cello concertos he is helped by an extremely sensitive accompaniment, stressing the chamber musical aspects of Haydn’s pre-London orchestral writing. The soft, intimate sonority at 3'06'' in the first movement of the D major is a typical example. The Adagios are taken at a flowing speed, but Isserlis’s relaxed approach means they never sound hurried. The Allegro molto finale of the C major Concerto, on the other hand, sounds poised rather than the helter-skelter we often hear. In his understanding of the music, Isserlis is a long way ahead of Han-na Chang, whose version places the emphasis on fine, traditional-style cello playing. Mork’s vivacious, imaginative performances characterize the music very strongly, but my preference would be for Isserlis’s and Norrington’s lighter touch and greater refinement.

Over the past decade, Steven Wilson's (Porcupine Tree) relationship with prog rock has grown increasingly intimate. He previewed a killer new band on the live album Get All You Deserve - woodwind/multi-instrumentalist Theo Travis, keyboardist Adam Holzman, session bass and stick player Nick Beggs, drummer Marco Minnemann, and guitarist Guthrie Govan - put a diverse, sophisticated face on Wilson's 21st century brand of the genre. The Raven That Refused to Sing and Other Stories is their first studio outing. Wilson was also able to coax Alan Parsons out of semi-retirement to co-produce and engineer the effort, and he fully committed: the album's crystalline, detailed sound and spacious ambience reflect some of his best work behind the boards…

In January of 2006, the remains of Joyce Carol Vincent, aged 38, were discovered in her London flat. She died in her apartment in late 2003, surrounded by undelivered Christmas presents. She was described as outgoing, attractive, and ambitious by neighbors, friends, and family, but somehow wasn't missed. This chilling story made headlines in Great Britain, and the mysterious person behind it moved Steven Wilson to create this fictional concept album (small "c"). He doesn't adhere to story's grim details. Instead he writes from the perspective of a living woman who is, due to choice, circumstance, or both, alone and ultimately unknowable. Engineered by Steve Orchard, and produced and mixed by Wilson, the album is sonically rich and detailed. It's an immense, imaginative landscape that melds classic album rock, sophisticated '80s pop, metal, prog, and electronica in expertly crafted songs…

Steven Wilson's 4½ is a six-track (+ bonus track for Japan) stopgap mini album between 2015's Hand. Cannot. Erase. and whatever full-length comes next. Four tunes have origins in the previous album's sessions; another dates back to those from 2013's The Raven That Refused to Sing and Other Stories. There is also a re-recording of "Don't Hate Me" that first appeared on Porcupine Tree's 1998 offering, Stupid Dream. The players are by now familiar: Wilson's current working band comprises Guthrie Govan, Adam Holzman, Nick Beggs, Dave Kilminster, Craig Blundell, Marco Minnemann, Chad Wackerman, and Theo Travis. Opener "My Book of Regrets" is a nine-plus-minute exercise that commences with a seductive pop melody, and offers a hooky chorus and syncopated dynamics. It evolves into spiraling prog rock courtesy of Beggs' front-line Chris Squire-esque bassline, fueling Govan and Wilson's spiky…

In January of 2006, the remains of Joyce Carol Vincent, aged 38, were discovered in her London flat. She died in her apartment in late 2003, surrounded by undelivered Christmas presents. She was described as outgoing, attractive, and ambitious by neighbors, friends, and family, but somehow wasn't missed. This chilling story made headlines in Great Britain, and the mysterious person behind it moved Steven Wilson to create this fictional concept album (small "c"). He doesn't adhere to story's grim details. Instead he writes from the perspective of a living woman who is, due to choice, circumstance, or both, alone and ultimately unknowable. Engineered by Steve Orchard, and produced and mixed by Wilson, the album is sonically rich and detailed. It's an immense, imaginative landscape that melds classic album rock, sophisticated '80s pop, metal, prog, and electronica in expertly crafted songs…