Steven Wilson Get All Yuo Deserve

Steven Wilson is a twice Grammy-nominated producer, writer and performer, best known as founder and front man of British rock band Porcupine Tree. He has also produced and /or mixed albums for artists as diverse as Swedish metal band Opeth, Norwegian chanteuse Anja Garbarek, and progressive rock institutions King Crimson and Jethro Tull. He also co-wrote and sang a track from Pendulum's number one album Immersion. Porcupine Tree’s last album was a top 30 album in both the UK and USA, and the tour climaxed with sold out shows at Royal Albert Hall in London and Radio City Music Hall in New York.

It caused a stir when it was announced: Steven Wilson (of Porcupine Tree and No-Man fame) was to release his first-ever full-length solo album. The first question to pop up was: why? After a couple decades of activity under his belt, and two handfuls of bands and projects past and present (including several solo outfits, like Bass Communion), why would he release an album under his own name, and what would that album be like? Well, as it turned out, Insurgentes is basically a Porcupine Tree album in which Wilson wrote all the songs and made all the decisions, including the one to not include all current members of Porcupine Tree in the project. Is that a problem, fans might ask? Not at all. In fact, Insurgentes is an excellent slab of progressive-tinged alternative rock, and a logical next step from Fear of a Blank Planet, PT's last album at this point…

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.

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…

Between 2003 and 2010, Steven Wilson (Porcupine Tree) released six CD singles, each featuring a cover version backed with a new original song. Titled, appropriately enough, Cover I through Cover VI, the first of these singles was significant because it was the first release issued under his own name. All of these were almost ridiculously limited. The titles were all compiled before - when Cover VI was released, the other singles were included in a lavishly designed box - but this marks the first time all 12 tracks have been widely available. The music presented here is performed completely solo save for chamber and orchestral elements on some tracks that were added on later, and showcases a different, more intimate side of Wilson…