You and a guest will meet Steven Wilson and enjoy 2 tickets from the artist's guest list when you attend an upcoming US show of your choice*! To see tour dates, click HERE.
One of the most eclectic and prolific artists in rock music, Steven Wilson has been writing, recording, and producing music continuously since the age of 10. He was first exposed to music at the age of eight, when he started hearing his father listening to Pink Floyd’s Dark Side Of The Moon and his mother to Donna Summer’s Love To Love You Baby, two albums that were pivotal in the development of his musical direction. His father, an electrical engineer, built him a multi-track tape machine, and he began to experiment with overdubbing and developing a repertoire of production techniques. Early demo tapes started to emerge in the mid 80s while Steven was still at school, and at the end of the decade he created the two projects which gained him entry to the professional music world: Porcupine Tree and No Man.
Porcupine Tree, which explored psychedelia, progressive music, and his love of ambitious 70s music, was initially an imaginary “band” which, in reality, Steven overdubbed all the instruments himself. This even extended to early demo tapes coming with a fictional written history of the band, and biographical info about the fictitious performers. Around the same time, Steven formed No-Man, his long-term collaboration with singer Tim Bowness. Influenced by everything from ambient music to hip-hop, their early singles and albums were a mixture of dance beats and lush orchestrations.
A second solo album, Grace For Drowning, was recorded in 2010-11 and released in September 2011 on CD, vinyl and Blu-ray formats as a double disc designed to be listened to as two single albums, with the individual parts named Deform to Form A Star and Like Dust I Have Cleared From My Eye. The album received massive critical acclaim. A live DVD/Blu-Ray, Get All You Deserve, was recorded in Mexico during the subsequent world tour and released in September 2012, again charting all over Europe.
2012 saw Steven winning “Guiding Light” trophy at the Progressive Music Awards 2012 and writing recording his third solo studio album, The Raven That Refused To Sing (and Other Stories) in Los Angeles with legendary producer Alan Parsons engineering. The album was released in February 2013. The album was a huge critical and commercial success, earning numerous 5 star reviews and charting well across the world. The virtuoso band Steven assembled to record the album, Guthrie Govan (guitar), Adam Holzman (keyboards), Theo Travis (flute / sax), Nick Beggs (bass / stick), and Marco Minneman, accompanied him on a hugely successful world tour in 2013 that took in 78 shows across 22 countries. UK shows included sold out Royal Albert Hall & Royal Festival Hall shows. The latter part of 2014 saw Steven Wilson enter Air Studios to record the highly anticipated follow-up to The Raven… and, just as long time fans will be expecting, it may be the most ambitious album of his entire career.
Due for release on 2nd March, 2015, via Kscope Records, Hand. Cannot. Erase. is a concept album; a mesmerising, labyrinthine tale hewn from a vivid blend of fact and fiction. In musical terms, the new songs are a more varied and esoteric bunch than those on The Raven that Refused to Sing, partly down to Steven’s aversion to repeating himself, but also because of the way it reflects its subject matter. One thing that has remained the same is the band, who are once again on hand to display their extraordinary skills and sensitivity. Veering from brooding electronic soundscapes to incendiary progressive rock epics and covering all bases in between, Hand. Cannot. Erase. is simultaneously a summation of everything that came before it in Steven’s career, and quite unlike anything he has recorded before. Fans will be instantly thrilled by his increasingly refined and distinctive compositional voice, and the use of new elements such as Ninet Tayeb’s female vocal contributions, and the unusual (in the context of a rock album at least) use of a boy’s choir.
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