STEVEN WILSON - The Future Bites (29.01.2021)

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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Thunderforce »

Tour ist abgesagt, vorerst auch ohne neuen Termin.

Edith: Mehr Infos hier:
http://thefuturebites.com/corporate-events/

2021 soll es Nachholtermine geben.
Zuletzt geändert von Thunderforce am 13.07.2020 12:01, insgesamt 1-mal geändert.
There was no box, mate.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Thunderforce »

In other news gab es auch zu "In Absentia" nun eine Twitter-Listening Party, also Album live anhören und Steven ist dabei uns kommentiert, so wie neulich auch zur "Hand Connot Erase".

Here we go:

'In Absentia' was our first album for Lava / Atlantic Records, so we decided to make the album just around the corner from our new record company.
The album was recorded at the famous Power Station studios in New York, although it had been renamed Avatar at the time. Engineer was Paul Northfield who taught me a lot about how to record guitars and drums.

BLACKEST EYES:
Blackest Eyes is one of the songs related to serial killers. There are 2 others on this record: Strip the Soul and The Creator Has a Mastertape.
This was the last song I wrote for the album. I wanted the opener to have a little of everything to come, the heavy riffs, the melodic song element, and the ambient textures, so it’s all here.
The album title also relates to the theme, in the sense of something being missing. And @lassehoile's artwork continues it by including photos of people and idyllic settings that have been scratched out by a frenzied knife.
‘Blackest Eyes’ was the first track that Gavin auditioned for the band with. I was skeptical before he started playing but once he finished his first run through I knew immediately that he was a perfect fit for the band..
Gavin was so powerful and hit the drums so hard, but without any sense of losing finesse or control. He really had it all. I think, in a way, it was the first time he’d ever been able to show that side of his musical personality.
Als Antwort auf die Frage, warum Paul Northfield: I actually didn't know of Paul, but he was one of several engineers recommended by our new A+R guy. I remember being able to enthuse about the sonics on Massive Attack's Mezzanine with him and that was enough for me.


TRAINS:
‘Trains’ is about childhood summers. It’s a paean to those formative seasons when the sun’s hang-time stretches long into the evenings and bedtimes are delayed.
When you’re a kid, you can’t wait to grow up. But then when you’re an adult, you realise it was actually the most wonderful time of your life.
A time of very little responsibility, wonderment and discovery. A time of innocence and naivety. You will never have those first experiences again—your first kiss, the first time you heard your favourite band or saw your favourite movie, whatever it is.
I think most of our adult life we spend trying to live up to those experiences, in an attempt to recapture the magic.
Though Trains never charted as a single, it may be the closest thing @PorcupineTree ever had to a hit. It’s probably my most requested song to play live.
I like it, but I never would have guessed how popular it would become, it wasn’t even my favourite on the album, but it shows how songs sometimes take on a life of their own once they are written.


LIPS OF ASHES:
The dulcimer part on ‘Lips of Ashes’ started life as a piece titled 43553e99.01 from my ambient/textural side project Bass Communion.
A lot of Bass Communion music over the years has fed into my songwriting. It’s something in its own right, but it also has an element of being research and development for my songs.
Als Antwort auf die Frage, was das Cover darstellt: That's a self portrait of Lasse Hoile the photographer and artist. He's not quite that scary in real life!
Suddenly the guitar tones become so much more professional-sounding and more luxurious because we had someone who knew what he was doing with engineering and mic placement.
I remember playing the demo of 'Lips of Ashes' to Mikael Akerfeldt of @OfficialOpeth while we were working on the Blackwater Park album and he was sooo jealous he immediately ripped it off for one of his songs!
This song basically appears on the album as my demo. I think we redid the guitar solo in New York and Richard added a few sound design keyboards.


THE SOUND OF MUZAK:
It’s great to be able to create an infectious groove that’s in an unconventional time signature but that doesn’t sound “clever” or unnatural. This is a great riff and rhythm that happens to be in 7/8.
The Sound of Muzak lyrically is a critique of the commercial and cultural devaluation of music. And this was 2002, it’s only got worse!
I had previously touched on the theme with Four Chords That Made A Million on the previous album but that track didn’t really work musically or lyrically. This time around I got it right I think.
This became another very popular PT “standard”, along with Trains and Blackest Eyes. We never had any hits, but these 3 might be among the closest, along with Lazarus from the next album.


GRAVITY EYELIDS:
‘Gravity Eyelids’ has a distinctly chilly vibe thanks to its scratch-and-hiss programmed rhythm and a ghost-choir effect. Definite trip-hop influence here.
Lyrically this is really about sexual tension, and I leave the rest to your imagination!
Als Antwort auf die Frage, welches Mellotron er benutzt hat: I didn't I'm afraid, ashamed to say at that time I played all the parts using a Tron sample library. Had a real one only since about 2013 or so.
Again it’s a mixture of the 3 elements of heaviness, melodism, and ambient textures. Later on I felt we painted ourselves into a corner a bit with this combination, perhaps it began to define us too much.
So in making I think our best album, I also see it as the beginning of the end, as it did become harder to redefine the band’s sound after In Absentia.
After 3 more albums using this musical vocabulary I felt it was time to end the band on a high and do different things.
In the meantime it seemed to me that several other bands had picked up on the style and carried it on, which was very flattering.


WEDDING NAILS:
I wrote ‘Wedding Nails’ based around Richard Barbieri’s middle section. For the end we wanted to create a stifling atmosphere, conveyed with chains and scraping piano strings. I think that’s our serial killer again!
The iconic cover and artwork was created by @lassehoile and it was the first time I ever worked with this genius. I think he sent some of his work in to my manager and the moment I saw the image, I said out loud “That’s the
cover!
After this he became an important collaborator on many of my projects, and a very close friend too. We have a lot in common in the way we look at the world and our musical and visual tastes.
‘Wedding Nails’ also appeared in the American superhero TV series ‘Birds of Prey’, in the episode ‘Slick’.


PRODIGAL:
The lyric for Prodigal describes a lonely misfit whose best friends are actually characters in a TV series.
For me, 'Prodigal' is perhaps the weakest track on the album, and I wish I had instead included the song 'Drown With Me', which instead became a B-side.
It has too much @pinkfloyd DNA to my ears. They frequently influence my songs, but those songs have tended to become my least favourites (Time Flies, Sky Moves), as I prefer to create my own musical world.
But it's still quite a nice song.


.3:
The orchestral arrangement on .3 was created by Dave Gregory from another of my favourite bands, XTC. He has since collaborated with me on many occasions, most recently on my album ‘Hand. Cannot. Erase.’
.3 was originally written as a mid-section to Strip the Soul but then became its own piece. You can hear it in context of the longer piece on demo on the bonus disc of the deluxe edition.
The two songs were later reunited in the original arrangement on the Fear of a Blank Planet tour, a recording of which can be heard on the Anesthetize concert film.


THE CREATOR HAS A MASTERTAPE:
The lyrics for The Creator Has a Mastertape were inspired by a book I read about the serial killer couple, Rosemary and Fred West.
The title is partly a nod toward Pharoah Sanders’ The Creator has a Master Plan and partly a reference to a tale about @JimiHendrix after he finished ‘Electric Ladyland’, leaving the tapes in a New York taxi cab!
I think this and the next track are my 2 favourites on the album. I played them both on my last tour.
@PorcupineTree hardly ever played this one live, I think it was too exhausting for Gavin! But I really enjoyed performing it on the To The Bone Tour. @craigblundell's drum and bass style rhythms really gave the track a new lease of life.
Als Antwort, das jemand beim Bass Geddy Lee und Tony Levin raushört: Knowing Colin as I do I doubt he's very familiar with Geddy Lee, Tony Levin he probably listened to though. Bill Laswell was always his favourite.


HEARTATTACK IN A LAYBY:
One of my favourite songs on the album, I’m very proud of the multi tracked vocal canon towards the end, which I spent a long time working on at home.
Back then, I was too self-conscious to allow anyone to watch me record my vocals, so they were all pre-recorded at my home studio prior to the recording sessions in New York.
I’m a great believer that a lot of the time you will get your best vocal performance when you’re closest to the moments that you have actually written the song.
The protagonist in ‘Heartattack in a Layby’ has had a big fight with his wife or partner and is on his way back home to patch things up. He’s keen to mend the relationship. But he doesn’t realise that he’s dying and won’t ever return home.
I like to compare it to the heartfelt letter that was never sent; the unspoken “I love you.” The theme of regret has surfaced in several of my songs over the years, most notably on my album ‘Hand. Cannot. Erase.’


STRIP THE SOUL:
The chorus bass riff in Strip The Soul is a 6/8 idea that @ColinEdwinT had. I’d worked out some other sections to put around it, including the verse groove that opens the song, which also became the basis for .3.
We shot a video for this, but it was quite a nasty piece, which I don’t think anyone really liked or felt comfortable with. Alas it was the only proper video we made for In Absentia.
I think this is before we knew Lasse could do videos too, otherwise I'm sure we would have asked him to do one.
What’s interesting to me about In Absentia is that you can hear how the sound we got on this album defined our sound from here until our last album, I think we kind of arrived at the perfect combination of elements.
I’ve always had an interest in the more experimental approaches to guitar solos and my solo on Strip The Soul is an example of this. It’s pretty unhinged, which suits the subject matter.
Sonically it’s also perhaps our best sounding record, although the original mastering kind of compromised it. But the recent deluxe edition remastering shows what a beautiful recording it is


COLLAPSE THE LIGHT INTO EARTH:
This is my 9/11 song. It’s not literal, as it’s a break up song really, but there’s something about it that will always be imbued with the sadness and grief of that tragedy for me. It was written in the days after.
Again it’s pretty much a solo track here, I think Richard added a bass synth part.
I started trying to write something more literal and decided it felt too much like “grief porn”...
To this day when I try to write something more political or world aware, I feel like it’s not my strength, so I end up writing about something else instead, whilst still trying to capture the feeling of where I started from.
This is a lovely elegiac way to close what was I think our most important statement as a band at that time, and perhaps this was the peak for us. Although I also like Fear of a Blank Planet a lot.
There was no box, mate.
Thekenumschau | RYM Diary 2021 | Letterboxd
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Porcupine »

Thunderforce hat geschrieben: 13.07.2020 11:36 Tour ist abgesagt, vorerst auch ohne neuen Termin.

Edith: Mehr Infos hier:
http://thefuturebites.com/corporate-events/

2021 soll es Nachholtermine geben.
Wäre irgendwie auch komisch gewesen, wenn das Album live präsentiert wird, bevor es erscheint.
Also besser abwarten, Tickets werden natürlich behalten.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Porcupine »

Neuer Song Eminent Sleaze:
Ich so: :hmpf:
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Thunderforce »

Schon recht merkwürdig *lol*
There was no box, mate.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Vector »

Puh :kratz:

Wie die neue Blackfield...
Many that live deserve death. And some that die deserve life.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von MetalEschi »

Radiohead meets Massive Attack. Richtig gut. :)
Sie lasen: Qualitätsposting von MetalEschi (c)2020
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von logos »

Geht in die Richtung, in die die neue no man schon gezeigt hat. Ob ich das mag... nicht immer, aber ab und an. Mal schauen, wie die anderen Songs klingen. Kann ja sein, dass der Song hier sozusagen das "Permanating" auf dem neuen Album darstellt und der Rest anders ist.
"Halte dich fern von Idioten!", Lemmy
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Thunderforce »

logos hat geschrieben: 22.09.2020 11:59 Geht in die Richtung, in die die neue no man schon gezeigt hat. Ob ich das mag... nicht immer, aber ab und an. Mal schauen, wie die anderen Songs klingen. Kann ja sein, dass der Song hier sozusagen das "Permanating" auf dem neuen Album darstellt und der Rest anders ist.
Der erste Song, der ja schon etwas länger bekannt ist (Personal Shopper) hatte mich jedenfalls deutlich mehr angesprochen.
Bei Steven muss man eh immer das Gesamtwerk abwarten, in der Regel passt da dann ja alles zusammen und er weiß, was er tut.

"Perfect Life" damals als Vorab-Track der "Hand Cannot Erase" war ja zum Beispiel auch erstmal reichlich ungewöhnlich
There was no box, mate.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von playloud308 »

MetalEschi hat geschrieben: 22.09.2020 10:37 Radiohead meets Massive Attack. Richtig gut. :)
Passt auch. Ich muss direkt an Duran Duran zu Big Thing Zeiten denken. Ich höre auch ABBA raus. :D Auch dieser Song ist völlig toll.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Rivers »

Thunderforce hat geschrieben: 22.09.2020 12:23 Der erste Song, der ja schon etwas länger bekannt ist (Personal Shopper) hatte mich jedenfalls deutlich mehr angesprochen.
Neee, der war schon wieder echt anstrengend. Den zweiten Song finde ich wesentlich angenehmer und auch humorvoll.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Thunderforce »

Neuer Song:
Gefällt mir klar besser als der letzte. Schön düster und offenbar hat SW viel Massive Attack und Prince gehört.

Insgesamt scheint die Platte wieder eine ziemliche Wundertüte zu werden
There was no box, mate.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Porcupine »

Ja, gefällt. Klingt in etwa wie eine Fortsetzung von Song Of I.
Progressive Rock im eigentlichen Sinne scheint es wohl kaum noch zu geben.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Lobi »

Ich kommen erstaunlich gut mit dieser Art Pop-Variante klar.
Schnabelrock hat geschrieben: 05.02.2021 22:11 Deine Beiträge hier sind dominiert von Hass auf alles und jeden und Minderwertigkeitskomplexen, die gute Gründe haben werden. Also steck dir deine Gutmenschensozialblödsinnheuchelei und das verquaste, geschwollene Gefasel in den Arsch.
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Re: STEVEN WILSON - The Future Bites (29.01.2021)

Beitrag von Maedhros »

Ich bekomme mit jedem Song mehr Lust auf das Album. Nachdem Personal Shopper mich nicht so mitgerissen hat, bin ich inzwischen ziemlich heiß drauf
"I hate Illinois Nazis"
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