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THE HARMONY CODEX

All dreams are ultimately forgotten... and lost., the album years podcast launches on youtube, bass communion – the itself of itself, harmonic divergence – record store day exclusive, bass communion – thief of snow, inclination (ewan pearson remix) out 19th january, new years update 2024, december skies, the making of the harmony codex video, signed beautiful scarecrow art prints now available from owl house studios, economies of scale, one moment just passes through.

"My seventh album The Harmony Codex is a real trip, a beautiful and experimental 65 minute labyrinth of a record, with almost every one of its 10 tracks taking a different musical approach. I really hope you will all get to hear the album as intended - a continuous musical journey, or a piece of 'cinema for the ears'. I couldn’t be prouder of this album and I think you are going to enjoy it too!"

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Hailing from London, England, Steven Wilson (born November 3rd, 1967) is a prog-rock extraordinaire, whose tireless musical energies have seen him perform under countless monikers, achieving several accolades in the process, including a Grammy nomination.

Growing up listening to his parents record collection, Steven Wilson became enamored with the likes of Pink Floyd, beginning to experiment with guitars and recording techniques from the age of 12. In adulthood, Wilson played in various outfits, including Altamont and No Man, before forming the prog rock band, Porcupine Tree. Porcupine Tree became Wilson's longest running project, releasing an impressive 16 albums between 1991 and 2009, becoming a popular act in the world of contemporary prog.

However, despite already being kept busy with these commitments, Wilson still found time throughout his career to participate in countless side projects. He has been releasing ambient electronica as Bass Communion, as well as playing in the Krautrock act, Incredible Expanding Mindfuck. Wilson has also turned his talents to production, becoming an in-demand producer working with the likes of Anja Garbarek, Orphaned Land and Fish.

Wilson began to strike out as a solo artist in 2003, releasing a series of covers of tracks by Alanis Morisette, ABBA and Prince. Yet it was several years later that a solo project fully emerged, with his debut solo record, "Insurgentes" in 2008. A second solo album, "Grace for Drowning," a double-disc effort, followed in 2011, before embarking on his first solo tour. Famous prog band, King Crimson, invited WIlson to remix their entire back catalog, a project Wilson undoubtedly enjoyed.

Wilson then moved on to a new venture, alongside former Miles Davis' keyboardist, Adam Holzman and lead guitarist Guthrie Govan. The resulting project was titled "The Raven That Refused to Sing and Other Stories," a concept album based upon short stories written by Wilson, appearing in 2013. The following year, WIlson returned to his solo output, releasing "Cover Versions," a collection of pop covers and singles he had recorded between 2003 and 2010.

Live reviews

Images of pigeons, pecking their lives away atop buildings, were transitioned into various street scenes around London, as Adam Holzman set the stage at the Gothic Theatre with “First Regret”. The rest of the band appeared one by one, while the ominous keyboard sounds silenced the sold-out crowd. We had all become voyeurs peeking into the windows of the apartment building projected on the screen in front of us. Lights cycled on and off, representing the lives being lived inside each bedsit, as the time-lapsed film fast-forwarded through the days and nights and weeks and years. Only one window stayed lit the entire time. The television flickered forever behind the curtains in that room, broadcasting banality to a ghost. But that was just a preview of the inevitable devastating conclusion. As the guitars and percussion came to life for “3 Years Older”, so did Wilson’s beautifully tragic protagonist.

The unbelievable story of Joyce Carol Vincent, an attractive 38-year-old woman who lay dead in her bedsit for almost three years before being discovered, weighed heavy on anyone with even the slightest sense of decency, but for Steven Wilson it was something he just couldn’t escape from. So, being Steven Wilson, he used Vincent’s story as a foundation for a concept album about isolation. With Hand. Cannot. Erase., Wilson created a fictional character and backstory to fill in the gaps of the real-life tragedy, while also providing his own commentary (and criticism) on how disconnected society has become in the age of the internet and so-called ‘social media’. Written from the point of view of the female lead, the story contained within the songs was expanded with a blog, diary, and various short films and videos. With so much time and effort put into the concept, it only made sense that the whole album would be performed in its entirety.

A beautiful, very much alive, girl is shown walking around the city, smoking cigarettes. Her attention to style, her tattoos, and her pretty face mask the anxiety within, while Wilson exposes her innermost secrets in song. The music is powerful and all encompassing, as huge guitar crescendos give way to the pristine ringing of keys. Wilson’s melodic voice softens the blow of the gut-wrenching lyrics (“you think of love as just a memory; a fog that smothers you, it’s hard to breathe”) before filling the room with the soaring chorus (“I can feel you more than you really know; I will love you more than I’ll ever show”). Having watched the Dreams of a Life documentary and read the handcannoterase blog, I feel a weigh bearing down on me…as if I’m attending a memorial for a woman I have never even met. The whole thing is almost too much, but then the song comes to an end and Wilson speaks for the first time…

“Thank you very much. Do I call you Denver or Englewood? I think this is the first time I’ve ever been here.” When reminded he had actually been here twice, he claims to be extremely embarrassed, but then goes on to promise “an extremely sexual show,” with “no politics, except to say we are here to make pop music great again.”

That type of banter continued throughout the show, thus acting as a valve to release the pressure that built up with every song. The performance continued with the title track from the album. Despite the rather grim (but extremely honest) outlook on relationships and love, the song was extremely upbeat and provided the first sing-along session of the evening. The official video, showing the unnamed woman and a previous lover drenched in water, played out while the band fed off the energy of the crowd. Wilson then switched over to a synthesizer for” Perfect Life”, while Katherine Jenkins’ recorded voice narrated the images of a sister long lost and nearly forgotten.

see more at http://ilistensoyoudonthaveto.com/2016/11/14/steven-wilson-gothic-theatre-11-12-16/

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Fantastic show from Steven Wilson and band last night. They opened with "Hand. Cannot. Erase." in its entirety and then came back out and played for another hour or so. Lots of great tracks from Steven's entire career.

Dallas crowd was in good form. Interestingly, everyone sat yet still responded with great energy, enough that Steven even commented on it in a positive way. We all stood for the encores. Given the heaviness of his subjects combined with the great variety of sonic textures and arrangements, I think either response is appropriate.

Hand. Cannot. Erase. is one of the best modern concept albums in my opinion. He carries on the tradition of great Porcupine Tree albums like Fear of a Blank Planet. It's based on the true story of a London woman who had died alone in her apartment and went undiscovered for several years. She was young, beautiful and had many friends and family with whom she had regular contact, but somehow she just "disappeared" and no one seemed to take note. The album is a commentary on modern life's frantic pace and the tenuousness of social connections, but at the heart, it's sort of a love letter to all of us. This could happen to anyone.

https://en.wikipedia.org/wiki/Hand._Cannot._Erase.

Steven promised to "not get political" during the show and he mostly upheld that promise. He did make mention of how much 2016 sucked, specifically in the context of the great musicians we lost. He made special mention of the importance of David Bowie and Prince to his own music and music at large. He actually talked at length between a few songs about this and jokingly referred to it as his lectures on the downfall of pop music, part 42, addendum 7, footnote B, etc. He dedicated the PT song "Lazarus" to David, mentioning the great song with the same name off Bowie's last album. Interestingly, the main character of the PT song is called David.

In tribute to his purple majesty, the band played an excellent cover of "Sign O' the Times" during the encore. Steven talked about how rare it is for an artist to not only release new albums regularly but to be willing to change and experiment during their career, especially when in the public eye as much as David and Prince were.

My only complaint was the sound mix, it was painfully loud most of the time. This wasn't as bad during the heavier moments but it detracted from the quieter songs. One of the louder shows I've seen, and definitely the loudest I've ever seen at Majestic.

If anyone thinks rock is dead, they haven’t witnessed the psychedelic rock thunder of Steven Wilson ... in 21 time signature no less. The show was originally scheduled for last week at the Phoenix, but due to a water main break was rescheduled to last night at the Opera House.

So there I was at the Opera House last evening with good friends Rob and Kim Stuart, who kindly treated me to a fabulous evening of music. Wilson, ex member of Porcupine Tree (which I have to admit I didn’t know anything about before discovering Wilson about 4 years ago) is a totally engaging frontman who is in full control of the incredible musicians he has with him on tour. With the nod of his head, the point of his finger ... or just a look ... the band immediately responded to the ever changing tempo of his multilayered musical creations, none of which seem to come in at less than 10 minutes of ear exploding glory.

I highly recommend “Home Invasion/Regret #9” (from the album “Hand. Cannot. Erase.”) as a solid example of what I’m trying to describe. The band covered this epic song early in the 1st set, to my great enjoyment.

Wilson was very chatty and quite humorous during the show (his 2nd in Toronto this year) commenting on such things from the gender make up in the audience to the unfortunate decline of the guitar in music today. He asked who in the audience was under 25 years old and then held his ‘63 Stratocaster in the air, proclaiming to them “This is a guitar.” In another interesting moment, Steven admitted to being a child of the eighties where he grew up listening to Depeche Mode and the Cure, et al. But surprisingly he saved his highest praise for his favourite artist while growing up ... Prince. The band then broke into a thumping, yet honest version of Sign of the Times.

Two sets and 2 1/2 hours of some of the greatest musicianship I’ve witnessed live, since Frank Zappa's tightly wound bands of the 70's and 80's. Nice

STEVEN WILSON

"LIVE @ THE VIC"

(WEDNESDAY, MAY 2ND)

Steven and his amazing band performed TWO shows in the same venue, a rarity for this tour... And, as promised, whenever that is the case the setlist varies between the two nights. He tends to play his usual set on night #1, with variations on night #2...

We saw night #2...

Steven's fine New release, "To The Bone" is far more Pop oriented than his previous work. I love his NEW direction, some of his fans do not..

For starters, he started the show with the CD's title track, a rarity for this your (it's one of my favorites). The rest of set #1 focused on "Hand Cannot Erase" with the third song "Home Invasion\Regret #9" hitting an early show highlight!.. The instrumental "Ancestral" was a 10 minute prog-rock powerhouse.

Set #2 started with another new rocker "People Who Eat Darkness" before settling in for some of the controversial (to some..) Pop songs : "Don't Hate Me", "Song Of I" and the very ABBA like "Permanating". But the set ended with two of the heaviest songs ever performed by SW, "Vermillioncore" (where the lights and visuals were absolutely stunning) and "Sleep Together", a hold over from his Porcupine Tree days...

The encore included some big surprises (you can look those up elsewhere) but ended with perhaps his finest composition to date, "The Raven That Refused To Sing"...

Did I mention the screen with videos and holograms?

Or the true Quadrophonic Sound system?

We drove 5 hours to see this show. This was my 8th show featuring Porcupine Tree\Steven Wilson.

In my mind it was time and money very well spent.

(Steven reportedly recorded one of his Royal Albert Hall shows for future release. Those who foolishly passed on this your can then see what they missed...)

Many Thanks to Steven Wilson, his amazing Band and Road Crew!!...

Great concert. I left it awestruck. The production value of this concert was top notch. As is often the case with Steven Wilson's concerts, this one too was resplendent with rich visuals and some interesting screen projections.

This was nearly a three hour concert with a short intermission in between. The concert guide was available for purchase for 12 GBP (it may look steep but it is more of an album than a guide with some great photos from Lasse Hoile).

Steven Wilson played his Hand Cannot Erase album in full in the first half, and in second half songs from Porcupine Tree, his new 4 1/2 album and a tribute song to David Bowie. In between the songs, he likes to talk to the audience and share anecdotes and trivia, and also humor them. This distinguishes him from his contemporaries.

Also, live concerts is one of the strengths of Steven Wilson. They are as good as his studio releases. This was the first time I heard his "Hand Cannot Erase" songs (except for Perfect Life) and I was completely astounded by the theme and quality of his songs, but not surprised since I have been a fan of his works since 'A Sunday of Life' from early Porcupine Tree days.

All in all, in the end I only wanted more. I felt as though I should go for same concert in another town next day.

Outstanding musicianship great Venue Nice people. Steven thinks its impossible to make Keyboards sexy which i thought was hilarious as he looked at his keyboardist. I wish i shouted out Gowan as maybe he has never heard about the Canadian Legend. I like how he addressed the crowd in between songs to discuss the songs or a type of music. I love the To The Bone 2018 album i think they played Pariah 2nd off at the go. I was dying to see the female vocalist come out and crush that song. However they did it to a video instead which was still great but I really wanted see her sing it live..maybe next time?

I picked out so many styles of music for this Progressive Rock giant. Mesmerizing, psychedelic, jazz, Pop, Rock, Metal along with interesting Videos float you along a musical cloud with higher and lower intensity's. Well done guys and keep coming back to the USA and Canada!

I can't say enough about this amazing artist, and the incredible presentation of sound and vision he and band members delivered for the Toronto date of this current tour.

Focused on the recently released "Hand. Cannot. Erase." album, the set included all but one of the songs, played in order. It was interspersed with the occasional, similarly themed songs of contemporary urban disconnectedness from previous solo and PT albums.

The music is built on a firm foundation of progressive rock, blended with pop and jazz influences from the past 50 years. All band members are incredibly skilled, well rehearsed, a prerequisite for the inevitable instrumental heroics that his audience has come to expect.

A true guiding light for the future direction of rock.

Quite the unique show at the Beacon tonight in NYC. It started with SW coming out to announce for the first time in 20 years he has lost his voice. The first set HCE started with Dave singing the first song then Ninet singing perfect life, HCE, Routine she was mind blowing extremely powerful singer. Then she sang Transcience and anscestral. The only song SW sang was Happy Returns. Second set dropped some songs but added Sectarian. Ninet sung Bowie by herself and an audience karaoke to sound of muzak to finish things up. I've seen him about 20 times and I must say this was the most enjoyable. As tight as ever I like the new drummer better then Marco for my taste he's very tight and Dave has greatly improved from the tour last time around

Never a disappointment even if Steven did lose his voice (hope you're feeling better, Steven ). I was happy to see Ninet this time too....as she did not tour with him when I saw him and his band last Spring (in New Jersey, New York and Pennsylvania). I thoroughly enjoyed the new songs from the 4 1/2 cd and the others too....Index, Sleep With Me, Muzak, etc. I concider myself fortunate to have been exposed to his music (courtesy of my son) and have tried to expose others who are music enthusiasts, as well. I don't know where to begin to express how much his music moves me. Thank you, Steven, as well as your fabulous band members! I look forward to your next endeavors and your next tour. Fondly, Rebecca Brown

For those who may have been slightly less than enthusastic about Wilson's latest recording, I would urge you to catch one of the 2018 "To The Bone" shows.

While losing none of the subtle beauty of their original recording, there is a level of energy, intensity and rawness in the performance of these songs that is not immediately evident in the recording. It is all crafted into a thematically complete, dazzling presentation that is both epic and yet, intimate. The band is superb, and Wilson himself is more engaging than ever, treating the audience as equals while sharing insights into his thought process in creating the songs.

An unforgettable concert experience not to be missed.

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Steven Wilson announces new tour dates for September and October

Steven Wilson will release his upcoming studio album The Future Bites in January

Steven Wilson has announced tour dates for September and October 2021. Wilson had previously cancelled his 2020 dates in July due to the Covid pandemic, which had included his first ever date at London's O2 Arena.

At the time Wilson stated, “It would have been perhaps strange to have done these shows so far in advance of the delayed release of  The Future Bites  album anyway, but although the cancellation of these shows is not unexpected, it still comes as a great disappointment to me. I will have a further update on my live plans for you all very soon.”

The Future Bites release date has already been put back from June 2020 and will now be released on January 29. To date Wilson has released videos for Personal Shopper , Eminent Sleaze , King Ghost and a Future Bites sessions version of 12 Things I Forgot , recorded with Saucerful Of Secrets' Gary Kemp.

Tickets for UK shows go on sale at 10am on Friday 11th December. There will be a fan only pre-sale on Wednesday December 9th.

Get tickets .

Steven Wilson The Future Bites live dates: Sep 8: UK Cardiff, St Davids Hall Sep 9: UK Sheffield, City Hall Sep 11: UK Manchester, 02 Apollo Sep12: UK Glasgow, Concert Hall Sep 13: UK Birmingham, Symphony Hall  Sep 15: UK Portsmouth, Guildhall Sep 16: UK London, Hammersmith, Eventim Apollo Sep 17: UK Nottingham, Royal Concert Hall  Sep 20: GER Hamburg, Sporthalle Sep 21: NED Amsterdam, Afas Sep 23: LUX Luxembourg, Rockhal Main Room  Sep 24: GER Frankfurt, Jahrunderthalle Sep 25: FRA Strasbourg, Palais de la Musique et des Congrès Sep 27: FRA Toulouse, Theatre Du Casino Barriere Sep 28: FRA Bordeaux, Theatre Fémina Sep 30: FRA Paris, Zenith Oct 1: FRA Nantes , Cote Des Congress Oct 2 FRA Lyon, Ampi Theatre Oct 4: ITA Milan, Teatro Degli Arcimboldi Oct 5: ITA Florence, Tuscany Hall Oct 6: ITA Rome, Auditorium Conciliazione Oct 8: FRA Aix en Provence, Le 6Mic Oct 10: SPA Madrid, La Riviera Oct 11: SPA Barcelona, Razzmatazz 1 Oct 14: GER Berlin, Tempodrome Oct 16: BEL Brussels, AB Oct 18: GER Bochum, Congresshalle Oct 19: SWI Zurich, Volkshaus Oct 20: GER Munich, Zenith Oct 21: GER Ludwigsburg, MHP Arena 

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• February 15, 2016 Setlist

Steven Wilson Setlist at Yotaspace, Moscow, Russia

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Tour: Hand. Cannot. Erase. Tour statistics Add setlist

• Set 1 (Hand. Cannot. Erase.):
• First Regret Play Video
• 3 Years Older Play Video
• Hand Cannot Erase Play Video
• Perfect Life Play Video
• Routine Play Video
• Home Invasion Play Video
• Regret #9 Play Video
• Transience Play Video
• Ancestral Play Video
• Happy Returns Play Video
• Ascendant Here On... Play Video
• Open Car ( Porcupine Tree  song) Play Video
• Harmony Korine Play Video
• My Book of Regrets Play Video
• Index Play Video
• Lazarus ( Porcupine Tree  song) Play Video
• Don't Hate Me ( Porcupine Tree  song) Play Video
• Vermillioncore Play Video
• Sleep Together ( Porcupine Tree  song) Play Video
• Space Oddity ( David Bowie  cover) Play Video
• The Sound of Muzak ( Porcupine Tree  song) Play Video
• The Raven That Refused to Sing Play Video

Edits and Comments

6 activities (last edit by Pahan666 , 16 Feb 2016, 06:09 Etc/UTC )

Songs on Albums

• 3 Years Older
• Ascendant Here On...
• First Regret
• Hand Cannot Erase
• Happy Returns
• Home Invasion
• Perfect Life
• Don't Hate Me by Porcupine Tree
• Lazarus by Porcupine Tree
• Open Car by Porcupine Tree
• Sleep Together by Porcupine Tree
• Space Oddity by David Bowie
• The Sound of Muzak by Porcupine Tree
• My Book of Regrets
• Vermillioncore
• Harmony Korine
• The Raven That Refused to Sing

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Steven Wilson Gig Timeline

• Feb 12 2016 The Circus Helsinki, Finland Add time Add time
• Feb 13 2016 Kosmonavt Saint Petersburg, Russia Add time Add time
• Feb 15 2016 Yotaspace This Setlist Moscow, Russia Add time Add time
• Feb 29 2016 Grand Théâtre de Québec Quebec City, QC, Canada Add time Add time
• Mar 01 2016 Massey Hall Toronto, ON, Canada Add time Add time

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About Steven Wilson

One of the most eclectic and prolific artists in rock music, Grammy-nominated Steven Wilson has been writing, recording, and producing music continuously since the age of 10. 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. He has become known for the high standard of his production and is a sought-after mixer and producer.

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