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Rock - Released November 2, 2018 | Mercury Studios

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The legendary Royal Albert Hall is the London counterpart of Paris’ Palais Garnier or Olympia. The venue is an ideal setting for the raw diamond that is Steven Wilson’s music. Wilson has harmoniously integrated a high-flying pop component into his ever unique and genuine approach. This new album is a bit different, something that Wilson wholeheartedly accepts (unlike numerous other artists). For To the Bone he is backed up by his devoted band. It’s a band that deserves special attention, even if Steven has decided not to hide behind a heavy and somewhat misleading shield anymore, like he did with the Porcupine Tree. In this regard, there could hardly be someone more subtle and respectable than Adam Holzman on keyboards. Holzman has worked with his Majesty Miles Davis − most notably on Tutu in 1986, and the subsequent tours for the next three years – as well as Michel Petrucciani, Marcus Miller, Robben Ford, and tens of others. Steven isn’t even the first Wilson he’s worked with, as he’s accompanied by Ray, former singer of Stiltskin (known for their hit Inside) and Genesis. Another member of the team is guitarist Alex Hutchings. Hutchings is less known than the others but performed in Thriller Live, the enormous spectacle in tribute to Michael Jackson, and despite the daunting task of following in the footsteps of Dave Kilminster and Guthrie Govan he passes with flying colours. Drummer Craig Blundell (Pendragon, Porcupine Tree…) also successfully replaces the amazing Marco Minnemann and Chad Wackerman…Another seems to have risen in prominence and been an influence on Steven Wilson’s recent musical orientation: the impressively talented bassist Nick Beggs (Ellis, Beggs & Howard, The Mute Gods, Steve Hackett, and… Kajagoogoo). And of course let’s not forget the amazing Ninet Tayeb on Pariah, People Who Eat Darkness and Blank Tapes. With such support throughout the 2 hours and 26 minutes of this live performance Wilson can only spread his wings and even be a little audacious by introducing the most pop track of TTB: Permanating. This track is more than just lyrics; he proclaims his love for the Beatles and ABBA, even if it means offending “music snobs”, and invites his audience to “dance on a little disco and pop”… Wilson takes six Porcupine Tree tracks and two titles from his dark and depressive side (as he admits) − The Sound of Muzak and the eminently gloomy The Raven That Refused to Sing – to close this live album and remarkable display of power. © Jean-Pierre Sabouret/Qobuz