Year : 2019
Style : Progressive Rock , Art Rock
Country : United Kingdom
Audio : 320 kbps + scans
Size : 110 mb
Bio:
Tim Bowness (born 29 November 1963) is an English singer and songwriter primarily known for his work as part of the band No-Man,a long-term project formed in 1987 with Porcupine Tree's Steven Wilson.In addition to recording albums with No-Man (for record labels such as One Little Indian, Sony/Epic, Inside Out Music and Kscope), Bowness has appeared on albums by US artists OSI and David Torn, Italian artists Alice, Fjieri, Nosound and Stefano Panunzi, Norwegian groups White Willow and The Opium Cartel, and others.In 1994, he recorded an album with Porcupine Tree/Japan/Rain Tree Crow keyboard player Richard Barbieri, called Flame.Bowness has been a core or occasional member of several other bands. He has sung for German band Centrozoon and British electro-improvisers Darkroom on the more vocal-orientated projects performed and released by each group. He is the lead singer and guitarist for Henry Fool and also sings for Memories of Machines. He was singer (and occasional second guitarist) for Samuel Smiles between 1992 and 2000. Bowness also has a longstanding duo collaboration with Peter Chilvers (with whom he has worked in Samuel Smiles and Henry Fool). This project has so far produced one album, 2002's California, Norfolk.Bowness's debut solo album, My Hotel Year was released on One Little Indian in 2004. The album made use of Bowness collaborators both old and new, and featured Roger Eno and Hugh Hopper amongst others.In 2009, Bowness co-wrote and co-produced Talking with Strangers, an album by former Fairport Convention singer, Judy Dyble.Warm Winter, the debut album by Memories of Machines (a collaboration with Nosound's Giancarlo Erra), was issued on Mascot in April 2011, and the self-titled debut release by Anglo Estonian project Slow Electric was released on Panegyric in October 2011.Bowness's second solo album Abandoned Dancehall Dreams was released on 23 June 2014 on Inside Out Music. Produced by Bowness and mixed by Steven Wilson, collaborators included Pat Mastelotto, Colin Edwin and Classical composer Andrew Keeling. Richard Barbieri and Grasscut provided mixes for the bonus disc. Abandoned Dancehall Dreams came out to some of the best reviews of Bowness' career. Receiving positive endorsements from Prog and Classic Rock, the album reached No. 18 in the official UK Rock charts and No. 1 in Prog magazine's July 2014 and August 2014 charts.A follow-up to Abandoned Dancehall Dreams, Stupid Things That Mean The World, was released on 17 July 2015 on Inside Out Music. Bowness admitted similarities between the two albums, in both the musical approach and artwork, calling it the second part of a new chapter that began with Abandoned Dancehall Dreams.Produced by Bowness and mixed by Bruce Soord, collaborators included Peter Hammill, Colin Edwin, Phil Manzanera and David Rhodes. The album reached No. 10 in both the official UK Rock and UK Vinyl charts, and No. 1 in Prog magazine's July 2015 and August 2015 charts. In September 2015, Stupid Things That Mean The World was No. 9 in the first ever official UK Progressive chart.
Album:
One of the more consistent of the many bands that straddle the fence between art rock and progressive rock has been no-man, a collaboration between main songwriter/vocalist Tim Bowness and Steven Wilson. The last time these two men worked together was in 2008 on the ‘Schoolyard Ghosts’ album. Now Bowness is releasing ‘Flowers At The Scene,’ a solo album, produced by no-man, mixed by Wilson, and for all intents and purposes a true solo outing. Unsurprisingly given Bowness’s history, it is a very laid back and mellow affair. That being said, there is still more of an edge to it than in the last several no-man albums or his last solo album.The album starts with “I Go Deeper” and I would say it contains all the hallmarks of his recent output; tight, well-played arrangements, crisp drumming that in many ways sounds electronic, and of course Bowness’s instantly recognizable voice, a breathy laid back style that is borderline asthmatic in its sound. For many, this vocal style will be a make or break element for this and all other releases. Either you will enjoy its qualities, or you’ll enjoy the music while wishing that the static and breathy flatness would have some variation. I’m a bit in the middle; his earlier, more dreamy no-man albums fit the vocal style better than the more recent output, where the prog element is raised and the music often takes on a heavier edge. Ultimately though, that’s simply the style he has developed over the years and had much success with. I like them with this type of music but am unsure how it would translate outside his particular niche.The music throughout this album is heavily layered with multiple instruments. Besides the obvious rock instruments, nearly all also contain string and horns as well, never in an intrusive way, but subtlety in the background. You might not consciously think about them all the time, but you’d miss them if they were absent. Bowness also brings is a number of well-respected guest musicians, from Colin Edwin (ex-Porcupine Tree) on bass throughout, guitarist Peter Hammil (Van Der Graaf Generator), to Steven Wilson himself. The third track, “Rainmark,” has some especially effective electric guitar work courtesy of Fates Warning’s Jim Matheos, and is easily one of the early highlights of the album.At the halfway point of the album, we come across the title track. The song is more jazz in nature than the art rock of the rest and features another lovely solo by Matheos. It is immediately followed by “It’s The World,” the heaviest and darkest song on the album. Dealing with the multitude of miseries that we find in our everyday lives, the lines ‘it’s the world that isn’t fair’ are repeated often. And can be taken as literally saying that the world is no longer a fair, or lovely place, or as being unfair. Both takes are more than a little accurate in their own way.The album closes with the fairly quiet and electronic driven “What Lies Here,” which brings in the mellow, dreamlike guitar loops and synth work that no-man has primarily been known for. And while not being a terribly exciting or memorable closer, it is rich in melancholy and atmosphere and ends things in a fully appropriate fashion.Tim Bowness has with this co-production with no-man crafted an art rock album that is unique to himself. I can honestly not think of another project in the progressive and art rock world that reminds me of the type of work and vocals that he provides. And making it a no-man project with Steven Wilson adds an extra element to the proceedings. This feels more of a successor to earlier albums than more recent truly solo outputs. Fans of the earlier work of these two men will find plenty to enjoy here, and someone looking for a mellow and laid back art rock album that is carefully produced and performed will find plenty to enjoy as well.
Line Up:
Tim Bowness - vocals, synths, co-producer
With:
Peter Hammill (Van Der Graaf Generator) - vocals
Andy Partridge (XTC) - vocals
Kevin Godley (10CC) - vocals
Colin Edwin (Porcupine Tree) - basses
Jim Matheos (Fates Warning/OSI) - guitars
David Longdon (Big Big Train) - vocals, flute
Brian Hulse (Plenty) - co-producer, guitars, synths, keyboards, drum programming
Fran Broady - violin
Ian Dixon / trumpet
David K Jones (Plenty) - bass
Tom Atherton - drums
Dylan Howe - drums
Charles Grimsdale - drums
Tracklist:
01. I Go Deeper
02. The Train That Pulled Away
03. Rainmark (Feat. Jim Matheos)
04. Not Married Anymore (Feat. Dylan Howe)
05. Flowers At The Scene (Feat. Jim Matheos)
06. It's The World (Feat. Peter Hammill, Jim Matheos, Steven Wilson)
07. Borderline (Feat. Dylan Howe, David Longdon)
08. Ghostlike
09. The War On Me
10. Killing To Survive (Feat. Peter Hammill)
11. What Lies Here (Feat. Kevin Godley, Andy Partridge)
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