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Tim: Thank you.
Very much so. I only have experience of the 1980s and 1990s music industry, but even then it wasn't easy. Only a tiny proportion of bands ended up with contracts and only a tiny proportion of those bands ended up with long-term careers. However, one thing that was much easier, is that mainstream radio stations and magazines were more open to taking risks and more open to giving out contact details. I was brought up near Manchester and Liverpool, and my early amateur demo cassettes were played on all the local radio stations and reviewed in all the widely-read local newspapers.
As a point of comparison, in 1985 there were only four local stations in the Manchester/Liverpool area of north west England and all four would play my music even though it was on a self-promoted cassette format. In 2017, there are dozens of channels in that same region and none of them would play anybody's demo. 99% of the new stations are Top 40 chart stations, Golden Oldie Top 40 chart stations or talk radio. As such, more choice, has actually meant more conformity and less opportunity.
Well, to quote a recent blog I wrote about the album: "When I first got into music in the mid to late 1970s, progressive rock was a huge influence. I was a big fan of many things, but at the time, bar my love for the work of Kate Bush, prog trumped them all." Contrary to its reputation for being distant, bloated and exhibitionist, for me it provided an emotional release from a difficult adolescence. Whether it was the sentimental beauty of a Genesis ballad, the atmospheric explorations of Pink Floyd, the nostalgic eccentricity of the Canterbury scene, the giddy inventiveness of Gentle Giant, or the brute-force of VDGG and King Crimson, I was transported by a world of creative possibilities to somewhere more interesting than suburban Warrington.
I was excited and moved by albums like Pawn Hearts, Close To The Edge, Rock Bottom, Incantations, Foxtrot, Free Hand, The Civil Surface, Lifemask, In The Land Of Grey And Pink, Islands, Dark Side Of The Moon and many more. 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.
My musical heroes included (and still include) the likes of Kate Bush, Pink Floyd, Robert Fripp, Peter Gabriel/Genesis (and off-shoots), Peter Hammill/VDGG, David Bowie, Robert Wyatt, Mike Oldfield and lots more.
It's something I have discussed with Steven. Artists we both admire such as Scott Walker, Peter Hammill, Kate Bush, Peter Gabriel and the late David Bowie all continue(d) to produce great music in recent times. Although it is fair to say that quite a number of artists from the 'classic' age of progressive, rock and other genres seemed to make vital, emotional and revolutionary music within a limited timeframe.
In some ways, that's an issue Lost In The Ghost Light addresses, as it's about someone who was once musically adventurous and is now a ghost of themselves, performing golden oldies to an ageing audience. On the album, I speculate that the reasons for this are due to a gradual falling-out-of-love with music, as the pressures of career, distant family, substance abuse and tour-induced boredom kick in. I also think that subsequent musical revolutions such as punk and new romantic derailed a lot of prog and rock artists. Suddenly (and unfairly in my opinion), they were made to look old-fashioned and irrelevant. Genesis, Yes, Pink Floyd and Mike Oldfield (for four) went on to great commercial and artistic success in the 1980s, and the likes of Peter Hammill and Robert Fripp continued to innovate. But for every Genesis/Peter Gabriel, there were 20 other bands whose career collapsed, either because of bad artistic choices, or bad timing (as they were so unfashionable, no one would write about them). Having spoken to musicians from that era, I know that the fact the UK music media suddenly deemed a lot of the classic artists "dinosaurs", really hurt and affected career and artistic choices.
As for artists of mine and Steven's generation producing our best work at an older age, I really hope that's true. I guess one thing, is that although we've had some success (Steven more so than me, obviously), it hasn't been on the scale of progressive artists of earlier eras. As such, we've had fewer industry distractions. The other factor is that Steven and I remain huge music fans, while a lot of earlier musicians fell out of love with music a long time ago and, sometimes, that shows.
Kit got in touch with me a few years back. It turned out that he liked some of my work. I was flattered because Kit had been the keyboardist at one of the first gigs I ever attended (Camel at the Manchester Apollo in 1981). I liked the fact that he'd moved on from Camel artistically in a major way and I did enjoy both of the Happy The Man albums.
I've been a huge fan of Ian Anderson's music since I first heard it in my early teens. I think he's a wonderful and intelligent lyricist, a strong songwriter and a great player. A rare, all-round talent. I was delighted that he was willing to be involved in the album. He was very positive about the finished song, and that meant a lot too. I chose Ian specifically for Distant Summers as the song details the early musical passions of the musician which Lost In The Ghost Light revolves around. As such, although it was part of the wider concept, due to Ian's involvement, there was some autobiography in that piece.
I'd love to. More so than the majority of what I do, this would need a very disciplined, accurate and, possibly, theatrical approach to the music. As such, more organisation than ever before. The short answer is, if there's the interest, I'd love to play it live and I have looked into a very unusual way of realising the album properly. As for the US, I do get offers of festivals, and it's somewhere I'd like to play, but so far every proposal has been one that would mean losing a lot of money in order to achieve the aim.
Quite a bit. I've finished a second album with Peter Chilvers. This is much more atmospheric and singer-songwriter-based than Lost In The Ghost Light. I've also been re-recording songs I wrote in the late 1980s with my pre-No-Man band Plenty. It's been great fun and inevitably we've done a lot of re-writing, as we've changed a lot as musicians and people since then. Outside of that, there is the possibility of a new No-Man album over the next year or two and I'd love to get my teeth into another major album project such as Lost In The Ghost Light.
Tim Bowness - Lost in the Ghost Light - Duo Review
While still sounding very modern, the album is often musically reminicent of the 70s sound that inspired Tim. In fact, as I listened to it for the first time, it reminded me of how imaginative and lacking in barriers the music of that era could be; a time when you didn't have to be a progressive rock band to make a prog album, and even the most accessible pop artist would be musically daring. The spirit of this type of adventurousness exists in Lost in the Ghost Light. It is a striking achievement and easily the most progressive album in Tim's impressive discography.
From soft, but diverse ballads (Worlds Of Yesterday and Moonshot Manchild), to gritty rockers (Kill The Pain That's Killing You) and symphonic/Cantebury prog (Nowhere To Go, You'll Be The Silence and You Wanted To Be Seen), the album is musically diverse and flows very effectively. There isn't a drop-off in quality to be found throughout. The beauty of the melodies, match-perfectly with Bowness's potent vocals, to create a moving listening experience. Distant Summers in particular, creates a strong and even haunting close to the album.
It would be unfair to not mention the musicians supporting Tim on this recording. The core band consists of some familiar names in the current world of prog such as Stephen Bennett, Colin Edwin (Porcupine Tree), Bruce Soord (The Pineapple Thief), Hux Nettermalm (Paatos) and Andrew Booker (Sanguine Hum). They do great work here, and there are also excellent guest contributions from Ian Anderson and Kit Watkins.
Lost In The Ghost Light is a recording that resonates with the listener on many levels. It is a significant musical statement, that not only offers a compelling narrative, but is also extroadinarily entertaining.
Serving as a respectful nod to the past, and as an example of great modern music, this album is highly recommended and the definite highlight of Tim Bowness's career thus far.
On Lost In The Ghost Light, Bowness has provided an examination of the "majestic and the mundane" aspects of a life in music. He has invented the fictional band Moonshot and its singer, guitarist Jeff Harrison in order to do this. Moonshot and its singer grow from their roots in 1960s psychedelia, through 70s progressive rock, to 80s MOR, before falling back into relative obscurity. The lyrical concerns of the album concentrate on the psychology of Harrison, as his fortunes change with a changing musical culture. With some superb lyrics (Bowness has grown into a rival for Peter Hammill in this area) he explores the foibles, dreams, triumphs and defeats of the rock star life. Every song has at least one memorable phrase.
The music on Lost In The Ghost Light is splendidly keyboard-led (hats off to Stephen Bennett) and its use of flute and strings gives the album a Camel, Caravan, Genesis and Pink Floyd-like opulence, whilst Bowness' voice brings out the protagonist's essential despair and tragedy.
The melodies have that Bowness grandeur and widescreen expressiveness, which made the previous two albums so memorable. There are some particular musical highlights throughout the album. From the sliding, E-bow guitar intro to Worlds of Yesterday (that also has a lovely flute solo from Camel's Kit Watkins), to Colin Edwin's fretless bass underpinning the evolving-intensity of the gorgeous Moonshot Manchild. Andrew Booker's drums power the punky Kill The Pain That's Killing You.
There is a Barclay James Harvest englishness to the yearning flute and electric piano on You'll Be The Silence. The addition of solo violin, on the final two tracks, adds another colour to a full musical pallet. Then, to ice this particular prog cake you get Ian Anderson's breathy flute, over Edwin's warm acoustic double bass, on the closing Distant Summers.
Tim Bowness has, on Lost In The Ghost Light, produced music that requires the listener to concentrate, to fully appreciate its beauties. If listened to casually, its generally mid-paced approach and layered orchestration may pass you by.
For those in search of the crunchy riff and pounding drum-fill, well, this is probably not for you. But if you want an album featuring a well-thought-through concept and some gorgeous tunes, then fill your boots with the "wonder of it all".