Genius is a gangly word to throw around, and at Ghost Cult, we don’t use it lightly, or all that often. For Steven Wilson, that tag has applied more often than not to his output in his thirty-year-plus career. As he pulls further and further away from his progressive metal heyday; he runs headlong to return to his early roots in the 1980s of No Man Is An Island/No-Man (look it up if you don’t know it) project. His loose goal going in was to make a pop-rock album in the vein of lightly prog-flavored favorites of his youth such as Peter Gabriel, Tears For Fears, XTC, and others. He achieved this on To The Bone (Caroline International), without any pretense you might associate with an artist making a choice like this.

Starting with the title track, a voiceover gives a philosophical musing on our modern times. A worthy choice to start the album as a table setter, ‘To The Bone’ has a “silver lining in the dark” thing going for it. Wilson hero Andy Partridge (XTC) contributes lyrics, and Wilson is joined by lovely backing vocals, pulsating percussion, wailing harmonica, and droning rhythm guitars for some new shades in his palette. ‘Nowhere Now’ begins on a somber note with piano and voice, later moving through a tempo and mood change.

‘Pariah’ is the standout track on the album. With almost a movie score epicness, the song takes the listener through several motifs and dynamic shifts. Wilson shares the lead vocal with collaborator Ninet Tayeb, who will remind you of Kate Bush or Carina Round with her incredible voice. Sprawling strings float in and out of the track giving it an ethereal feeling of peace.

The more rocking ‘The Same Asylum As Before’ has a brilliant slide guitar and an effective falsetto lead vocal in the verse. It’s such a simple, sweet piece of pop writing, it almost feels like the three-chord driven radio fare Tom Petty (RIP) was known for, This track also features some grand key changes and choices. ‘Refuge’ has a similar arc, starting with a whisper and swelling to a grandiose rock jam.

‘Permanenting, with its keys driven progressions and driving beat is a pure pop track. It’s solid, but not really moving the way some of the prior tracks were. ‘Blank Tapes’ is more of an interlude than a full-fledged song, but it has a deepness to it. After the forgettable ‘People Who Eat Darkness’, ‘Song of I’ saves the day. Co-lead vocals from Sophie Hunger give this track a real boost with its thick, noir-ish vibe. Another great use of string arrangements, make this one of the highlights of the album. “Detonation’ has the most in common with Wilson’s prog leanings and fans of his older works will love this track. ‘Song of The Unborn closes out the album strong, with a gorgeous take on Beatles-esque balladry.

You have to admire the man for having no limits, for chasing his muse, and going wherever it takes him. While To The Bone hardly stirs me the way The Raven That Refused to Sing…, and Hand. Cannot. Erase. (both Kscope) did, its a mostly well-written collection of tracks, beautifully executed by Wilson and his mates.

8.0/10

KEITH CHACHKES