Формат записи/Источник записи: [TR24][DVDA]
Наличие водяных знаков: Нет
Издание: Special Edition Mediabook
Год издания/переиздания диска: 2017
Жанр: Progressive Rock
Издатель (лейбл): Sony BMG Music Entertainment (InsideOutMusic)
Продолжительность: 00:43:28 + 00:42:10
Наличие сканов в содержимом раздачи: Да (сканы)
Треклист
Lost in the Ghost Light (2017) [PCM 24/96 Stereo]
01. Worlds of Yesterday (Stephen Bennett / Tim Bowness) 05:41
02. Moonshot Manchild (Stephen Bennett / Tim Bowness) 08:58
03. Kill the Pain That’s Killing You (Tim Bowness / Andy Butler / Alistair Murphy) 03:44
04. Nowhere Good to Go (Stephen Bennett / Tim Bowness) 04:46
05. You’ll Be the Silence (Stephen Bennett / Tim Bowness) 09:01
06. Lost in the Ghost Light (Tim Bowness) 01:40
07. You Wanted to Be Seen (Stephen Bennett / Tim Bowness) 05:32
08. Distant Summers (Stephen Bennett / Tim Bowness) 04:06
Stupid Things That Mean the World (2015) [PCM 24/96 Stereo]
09. The Great Electric Teenage Dream (Stephen Bennett / Tim Bowness) 03:58
10. Sing to Me (Tim Bowness / Steven Wilson) 05:46
11. Where You’ve Always Been (Tim Bowness / Phil Manzanera) 04:07
12. Stupid Things That Mean the World (Tim Bowness) 03:05
13. Know That You Were Loved (Tim Bowness) 06:44
14. Press Reset (Tim Bowness) 03:54
15. All These Escapes (Tim Bowness / Brian Hulse) 03:06
16. Everything You’re Not (Tim Bowness) 03:40
17. Everything But You (Tim Bowness) 01:12
18. Soft William (Tim Bowness) 01:40
19. At the End of the Holiday (Tim Bowness / Andrew Keeling) 04:58
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: LPCM
Количество каналов: 2.0
Лог проверки качества
Доп. информация
:
Достойные внимания рецензии, включая интервью с Тимом Бонессом (на англ.) размещены в The Prog Report, 6 Feb. 2017: https://progreport.com/tim-bowness-lost-ghost-light-album-review/
и в ProgRadar, 17 Jan. 2017: https://www.progradar.org/index.php/2017/01/17/review-tim-bowness-lost-in-the-gho...ht-by-progradar/
Источник (релизер): собственный рип
Состав
Personnel on Lost In The Ghost Light:
Tim Bowness: vocals, backing vocals (2-4, 7-8), synthesizers (6), rhythm programming (6)
Bruce Soord: acoustic and electric guitars (1), electric guitar solos (1, 3, 5), backing vocals (1), electric guitar (7, 8)
Colin Edwin: bass (1, 3-4), fretless bass (2, 5), bass harmonics solo (5), double bass (8)
Ricard ‘Huxflux’ Nettermalm: drums (1, 2, 5); Kit Watkins: flutes (1, 6), waterphone (6)
Stephen Bennett: organ (1-2, 4-5, 7), acoustic and electric pianos (1-2, 5), Novatron 400 (1-2, 4-5, 7-8), synthesizers (1-2, 5, 7-8), acoustic and electric 6-and 12-string guitars (1-2, 4), E-Bow solo (1), Hohner Pianet (2, 7), piano (4, 7-8), Spitfire Brass (4-5), electric guitar (5), Univox Drum Machine (5)
David Rhodes: electric guitar (3, 7)
Andrew Booker: drums (3-4, 7-8)
Andrew Keeling: string arrangements (3-5), flutes (3-5), acoustic and classical guitars (4)
Charlotte Dowding: violin ensemble (3-5)
The ‘unknown’ Pete Smith: Rickenbacker bass (7), bass pedals (7)
Steve Bingham: violin (7-8)
Ian Anderson: flute (8)
Produced by Tim Bowness with Stephen Bennett
Personnel on Stupid Things That Mean The World
Tim Bowness: vocals, keyboards, guitar, programming
with:
Stephen James Bennett: keyboards, programming
Michael Bearpark: guitars
Andrew Keeling: string arrangements, acoustic guitars (“At the End of the Holiday”)
Colin Edwin: fretless bass, double bass
Andrew Booker: drums
Pat Mastelotto: drums
Charlotte Dowling - violin ensemble
Anna Phoebe: violin
Bruce Soord: guitar, bass, programming
Peter Hammill: slide guitar, vocals
Phil Manzanera: guitar, vocals, keyboards
David Rhodes: guitar, backing vocals
Rhys Marsh: pedal steel guitar
Produced by Tim Bowness
Об исполнителе (группе)
Most well-known for his work in the duo No-Man, his long-running partnership with Steven Wilson (Porcupine Tree, Bass Communion), Englishman Tim Bowness established himself throughout the ’90s as a singer and musician with an ear for passionate and passionately wry music. His variety and range of musical interests, similar in scope to Wilson’s own various explorations, resulted in a series of bands and joint efforts with friends covering everything from experimental, cutting-edge dance music to torch songs and progressive rock.
Bowness, born and raised in Warrington in Cheshire, first became interested in music during his childhood in the mid-’70s, while the end of that decade saw him completely taken by a wide variety of influences. Peter Hammill was a particular favorite, while others included Robert Wyatt, David Bowie, and Nick Drake, with a strong and continual interest in what Bowness describes as “obsessive singer/songwriters”— Scott Walker, Nico, Kevin Coyne, and Tim Buckley are other examples. In interviews, Bowness has also mentioned everything from classic disco and post-punk efforts to his parents’ own collection of classic crooners, notably Frank Sinatra. Finding himself in a dead-end civil service job when he was 18, Bowness initially began singing to bring some of his poetry to life and proceeded from there to regular musical work.
Bowness’ work in the ’80s found him putting his interests into practice via a number of different bands, starting with the Manchester-based group Still and continuing through Always the Stranger and After the Stranger. The turning point was 1986—Bowness, singing with the group Plenty, was contacted by Wilson to see if an After the Stranger track could be added to a compilation he was assembling. This in turn led to longer conversations and visits, resulting in the formation of No Man Is an Island, later becoming No-Man.
From then on, Bowness created a slew of often amazing releases in many different areas. Besides No-Man, his most notable efforts include Samuel Smiles, a self-described ambient folk band that began in 1991 but didn’t start releasing albums until 1999, and Darkroom, initially a Samuel Smiles side project that expanded into its own definite sphere, exploring drum’n’bass, techno, and minimalism. A collaboration album with former Japan (and Porcupine Tree) keyboardist Richard Barbieri, Flame, appeared in 1994, while another wholly new group, Henry Fool, also formed. On top of all that, there are two collaborative albums by Bowness and Samuel Smiles/Henry Fool member Peter Chilvers, which both appeared in 2002. In 2003, Bowness appeared on no less than six recordings: an album and EP by No-Man, and on full-lengths by other projects he was involved with, including Centrozoon (with tap guitarist/composer Markus Reuter) Rhinoceros, Alice and Synapscape.
Bowness’s debut solo offering, My Hotel Year was issued by One Little Indian in 2004. The singer was accompanied by an A-list friends including Reuter, Chilvers, David Picking, Henry Fool bandmate Stephen Bennett, and Bernard Wöstheinrich. Despite universal critical acclaim, it would be his last solo album for a decade. That same year, Centrozoon’s Bigger Space appeared, featuring Bowness’ vocals and songs; following its release, he was absent from the music scene for more than two years. In 2007, Centrozoon returned with Never Trust the Things and played some shows, and Bowness and Wilson re-entered the studio, resulting in No-Man’s widely acclaimed Schoolyard Ghosts. They followed it a year later with Wherever There Is Light, while Bowness—using only his last name—also contributed to recordings by O.S.I. , Judy Dyble, Stefano Panunzi, and Fjieri. Henry Fool issued a self-released recording while No-Man offered the double-live DVD package, Mixtaped. Bowness again laid low for the next couple of years, re-emerging in 2011 with Centrozoon’s Never Trust the Way You Are, followed by No-Man’s Love and Endings a year later. 2013 marked the year Bowness returned to music making full-time. He appeared on the Opium Cartel’s Ardor album, and worked on his own projects, releasing records with UXB and Henry Fool. Bowness signed to Inside Out Music in late 2013. His label debut was the celebrated Abandoned Dancehall Dreams, engineered by Bennett and mixed by Wilson. Among its contributors were Colin Edwin, Pat Mastelotto, and Michael Bearpark. Uncharacteristically, Bowness quickly followed it up with 2015’s expansive Stupid Things That Mean the World. The set brought back virtually all his collaborators from the previous album and included a wide cast of new ones—Hammill, Yaron Stavi, violinist Charlotte Dowding, Bruce Soord, and Phil Manzanera, to name a few. He also contributed to projects by A Marble Calm and Fjieri. Bowness released Lost in the Ghost Light in the spring of 2017 with a smaller cast of players, most of whom had appeared on his previous records. He returned in early 2019 with his fifth LP, Flowers at the Scene. (Ted Raggett, AllMusic)
Об альбоме (сборнике)
It’s a somewhat hidden truth that a sizeable percentage of any musician’s fan base believes that the music their favorite artists make is a direct reflection of their tastes. While an artist’s music ought, indeed, be a reflection of what moves them, it’s another truth that, more often than not, their listening habits run much farther afield.
One way to develop a more thorough appreciation for an artist’s tastes, touchstones and influences is to look at their entire discography, assuming they’ve been around long enough to build one sizeable enough to tell a more complete tale. Still, even looking at discography that is now entering its fourth decade doesn’t necessarily tell the whole story, as is the case with Tim Bowness.
Lost in the Ghost Light is Bowness’ third solo release since 2014’s Abandoned Dancehall Dreams (Inside Out)— his first “real” solo album despite releasing My Hotel Year in 2004, which Bowness describes, in the 2017 All About Jazz interview that accompanies this review, as “. . . pieces from several separate projects I was working on in the early 2000s. It’s a solo album in name mainly, though I did define its shape and sound.”
Lost in the Ghost Light shares certain unmistakable stylistic commonalities with the British singer, songwriter and multi-instrumentalist's previous two records, and his work in No-Man, Bowness’ longstanding collaboration with fellow solo artist Steven Wilson, which—on hiatus since 2008—may well be firing back up in the near-to-mid-range future. At the same time, it represents something completely different in Bowness’ discography, whether it’s solo, as co-leader of groups including No-Man, Henry Fool (along with Ghost Light compositional collaborator/keyboardist/guitarist Stephen Bennett) and his duo project with bassist/keyboardist Peter Chilvers, or as a guest with groups including Centrozoon, The Opium Cartel and Darkroom and singer Judy Dyble.
Progressive rock—in particular the “softer side” of the genre that grew to massive popularity in the ’70s before being hit hard by a number of factors towards the end of the decade and in the years since, until its unexpected resurgence of popularity over the past 15-20 years—has always been one of the undercurrents running beneath Bowness’ music. That said, it’s important to appreciate the true breadth and depth of his musical addiction, best expressed in his AAJ interview. Suffice to say that Bowness views music as a much larger continuum than any single genre, and is a fan of everything from the Moody Blues, Procol Harum, Simon and Garfunkel, The Beatles and Frank Sinatra to Randy Newman, Joni Mitchell and Leonard Cohen. . . not to mention a passion for Kate Bush and David Bowie, XTC, John Foxx/Ultravox, David Sylvian, Japan, and Joy Division, as well as American art-rockers including Talking Heads, Patti Smith, Lou Reed and Velvet Underground.
But amidst these diverse artists and stylists, progressive rock remains a major motivator because, as Bowness articulates in the interview: “. . . contrary to its reputation as being distant, bloated and exhibitionist, for me the best progressive rock contains soaring imagination alongside rare emotional intensity. As much as my tastes have evolved over the years and my own music has developed along different paths, the idealism of progressive music remains a touchstone. Prog may have been occasionally ridiculous, pompous, and overreaching, but it was rarely boring.”
If Abandoned Dancehall Dreams and its 2015 Inside Out follow-up, Stupid Things That Mean the World were superb records informed by progressive music, Lost in the Ghost Light is—not unlike his No-Man partner Steven Wilson’s unexpectedly massively successful 2013 album The Raven That Refused to Sing and Other Stories (Kscope)—unapologetically a flat-out progressive rock record, albeit one that could only come from Bowness’ cooperative pen with Stephen Bennett. Relying more on soft melodies and cinematic atmospheres than The Raven’s often overtly virtuosic, high-energy and high-octane music: Strawbs, early Phil Collins-era Genesis and Camel, then, rather than Yes, Mahavishnu Orchestra, and King Crimson.
That’s not to say there isn’t any heat on Lost in the Ghost Light; the frenzied “Kill the Pain That’s Killing You” is one of Bowness’ most aggressive songs ever, from his processed vocals and fiery guitar work from Bruce Soord to the fierce rhythmic underpinning from Sanguine Hum drummer Andrew Booker and Burnt Belief/Porcupine Tree’s Colin Edwin—the only other constant on the album along with Bennett. . . and a more fluid, intuitive and tasteful yet absolutely unshakable bassist you’d be hard-pressed to find.
The Pineapple Thief guitarist was chosen for this project because, as Bowness articulates, “. . . he has a songwriter’s approach to guitar solos in that he’s direct and melodic. [Regular guitarist, Darkroom’s] Michael Bearpark is great but he’s from the abstract school of noise that includes David Torn and Neil Young. The Ghost Light songs needed something different.”
But Soord isn’t the only name guest to appear on Lost in the Ghost Light; amongst the many usual suspects who have populated solo albums and some No-Man releases in the past, Bowness recruited undervalued American progressive rock group Happy the Man’s Kit Watkins for some evocative flute work on the opening “Worlds of Yesterday” and brief, Van der Graaf Generator-informed title track, while Jethro Tull founder, songwriter, guitarist and woodwind multi-instrumentalist Ian Anderson contributes a particularly moving flute solo on the closing, Novatron-driven ballad “Distant Summers,” complete with unison vocalizing and occasional signature trills, as well as perfectly placed fills throughout.
Much of Ghost Light was co-written with Bennett, who brings a broader harmonic palette to the project. There are intentional nods to Genesis in the 12-string guitars and, most notably, in its reference to keyboardist Tony Banks’ distinctive voicings on “Moonshot Manchild,” where Bowness was thinking about “Genesis b-sides from the late 1970s and early 1980s[, which] had a chordal sophistication and exploratory shape that seemed absent from contemporary pop.” Bennett’s lush, orchestral support on the track—the album’s second, and sharing certain thematic motifs with the opening, similarly image-inducing “Worlds of Yesterday”—are particularly wonderful for being played on the Novatron 400, a late-’70s renaming of the original tape-driven orchestra/choral sampler, the Mellotron, which in many ways defined the sound of progressive rock from its early days through recordings from the Moody Blues, King Crimson, Yes. . . and, of course, Genesis.
But it’s not just soft symphonic leanings amidst acoustic and electric guitars that are at the heart of Lost in the Ghost Light’s compositional treasures; amidst the album’s eight tracks and 43-minute run-time there are hints of the Beatles, Pink Floyd and Peter Hammill. . . even slight tinged of Caravan and Camel. . . all subsumed within Bowness’ increasingly distinctive writing style, which capitalizes on his work with No-Man and Henry Fool but expands his purview even further than ever before. Lost in the Ghost Light may be an unapologetically progressive rock record with its roots in music of the late-’60s/early-’70s, but it’s also an unequivocally contemporary album.
While Ghost Light possesses a number of progressive rock (and some rock opera) signatures—in addition to the Novatron/Mellotron, there are vintage synthesizers, episodic compositions, recurring themes, irregular meters. . . and the flute, another popular instrument back in the day that has experienced a bit of a resurgence with contemporary groups including Britain’s Big Big Train, Sweden’s Änglagárd, Norway’s White Willow and Italy’s Höstsonaten—it still fits seamlessly within Bowness’ broader discography, his melancholic ballads and sometimes wisp-like vocals a soft, dreamy constant.
Possessed, in turns, of pop-like elegance and more complex compositional and textural constructs, Lost in the Ghost Light may be a concept album like ’70s releases including Yes’ Tales from Topographic Oceans (Atlantic; reissued by Panegyric in 2016) and Genesis’ The Lamb Lies Down on Broadway (Charisma, remixed/reissued by Rhino in 2008), but unlike those predecessors its story is not oblique (or completely incomprehensible). Instead, it’s a very direct and personal story that may be about a fictitious band (Moonshot) and, in particular, its lead singer, Jeff Harrison—who is caught sitting in front of a mirror in his dressing room after a gig, looking back on a “life sentence” in music, for all its challenges and all its rewards—but it’s as much a reflection on Bowness’ own life in music, from questioning the relevance of a lifelong career as it enters its twilight years on “World of Yesterday” to “You’ll Be the Silence,” where Bowness’ sums up Harrison’s lot his most succinct best: “Once the world was yours / And the world was for people like you. / Now the world is theirs / And the world is for people like them.”
Still in his fifties, Bowness has yet to enter its career’s final chapter, and his recent string of solo albums has proven amongst the most successful and critically acclaimed of his career. Clearly an artist who has plenty left to say—and one for whom the world still remains his—with Lost in the Ghost Light, Bowness has delivered another persuasive, evocative and provocative album that, with its more direct progressive tendencies and a group of perfectly chosen musicians—including a non-performing Steven Wilson, who mixed Lost in the Ghost Light (as he did Abandoned Dancehall Dreams) and mastered the album—has managed to raise his already top-level game.
As a concept album—and with Abandoned Dancehall Dreams and Stupid Things That Mean the World giving him plenty of additional material—Lost in the Ghost Light has the potential to become a terrific, full-length live show, so here’s hoping that Bowness gets the chance to hit the road with some of the album’s key players. . . perhaps, even, get out of Europe and aim for some North American dates: at this stage in his career as a solo artist, it’s time. In the meantime, the thoroughly compelling Lost in the Ghost Light represents forward motion for Bowness even as it looks back, wistfully, at a time when, musically speaking, anything seemed possible. . . and everything was allowed. (John Kelman, All About Jazz, 19 Feb. 2017) https://www.allaboutjazz.com/lost-in-the-ghostlight-by-john-kelman.php
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发表于 2020-9-23 14:10:43
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