1987 was a big year for Steven Wilson. Still in his teens, he devised Porcupine Tree as a progpsych conceit, complete with a fabulously fictional back story. He also happened to meet singer-songwriter Tim Bowness, with whom he began playing as No Man Is An Island (Except For The Isle Of Man). While Porcupine Tree would gradually evolve into a whole other creative entity, the Bowness project was a more immediate priority.
The chemistry was instant. "At our very first recording session, we did three completely different kinds of song," Wilson recalls. "We recorded Faith's Last Doubt, which is this very sort of pretentious prog rock epic. Then there was this piece of industrial funk, Screaming Head Eternal, and a gothic piano ballad called Beaten By Love. And all in the space of about three hours bang, bang, bang. There was something magical straight away." "What was great about working with Steven is that we were free from any shackles," Bowness adds. "When I first met him, we'd discuss avant-garde music, classical, prog rock, Swans, David Bowie, all of these things. And we'd draw from spiritual jazz or soul music. Very early on we started using looped beats and looped bass, but we'd also draw samples from Stockhausen and Van der Graaf Generator. Basically, we just wanted to express ourselves." This wildly eclectic, anything-goes approach made for some thrilling music. No Man Is An Island experimented as a four-piece in their early days, before slimming down to a trio (with violinist Ben Coleman) for 1989's boldly visceral EP Swagger.
The band name soon lost a little fat, too, becoming simply No-Man. As a sumptuous new box set attests, they were impossible to pigeonhole.
This story is from the Issue 147 edition of Prog.
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This story is from the Issue 147 edition of Prog.
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