Stephen Wilson’s New Album Journey
Stephen Wilson spoke to NME about how he aimed to reinvent the guitar solo for his latest album, which explores space topics and marks the return of the musician behind “Porcupine Tree” after over a decade away.
Announced last month and set for release in March, the album titled “Overview” draws inspiration from the overview effect—a profound phenomenon encountered by astronauts when they first glimpse Earth from space.
“Astronauts experience deep insights,” Wilson shared with NME. “Some people have a very positive reaction, while others respond negatively. It’s quite affirming to recognize that life is a random, bizarre gift to be enjoyed. As for the universe, it simply doesn’t care about us.”
Creative Process and Collaborations
After learning about the overview effect from his friend Alex Milas at the research group Space Rocks, Wilson was inspired to compose two lengthy tracks: the title piece and “Objects Are Experiencing Us.”
https://www.youtube.com/watch?v=p0yvbgx-tee
The album is accompanied by an animated film directed by Miles Scarin, who frequently collaborates with Wilson on his music videos, marking Wilson’s first solo project in seven years. “This isn’t like touring that was done a long time ago,” Wilson remarked. “It’s intriguing to do it again after so much time, but it’s also a little daunting.”
“Objects Are Experiencing Us” features an epic guitar solo by Randy McStein, the touring guitarist for the reformed Porcupine Tree. The renowned trio reunited in 2022 for a tour and their first album in 13 years, titled “Closure/Continuation.”
“I told Randy, ‘We’re going to create the concept of an expansive classic rock solo,’” Wilson explained. “I wanted it to evoke drama akin to the 1979 Pink Floyd classic from The Wall, but with a completely different energy. What Randy accomplished has become a central element of the recording.”
Notable contributors to the “Overview” album include XTC singer Andy Partridge, who penned lyrics for “Objects Are Experiencing Us,” as well as Wilson’s wife, who shares insights about distances from Earth to other celestial bodies in the title track.
Continue reading for a comprehensive interview with Wilson, where he discusses the progress of new music from Porcupine Tree and reveals his thoughts on the alleged disdain he harbors for Coldplay…
Exploring Themes and Future Projects
NME: Hello, Stephen. What intrigued you about the overview effect when you first learned about it?
Stephen Wilson: “The emotional responses vary based on an individual’s belief system and perspective. This idea captivated me, leading me to research responses from various people who traveled to space, from astronauts to figures like Jeff Bezos and William Shatner.”
Was Shatner’s reaction entirely negative when he went to space in 2021?
“It was. He remarked something along the lines of, ‘All I saw was death and emptiness,’ which is quite poignant coming from Captain Kirk. I could easily have titled this album “Perspective,” as it reflects the notion of reminding people of our insignificance in relation to the vast universe.”
“Surprisingly, I had the title and concept for the album before writing a single lyric or note of music.”
Why did you decide to create two lengthy tracks, approximately 20 minutes each?
“It instinctively felt like a long experience, akin to a novel or a film. This concept was to begin on Earth and traverse across the universe, encapsulated within the same musical content. To extend the cinematic analogy, these two tracks are like scenes, yet collectively form a single musical journey.”
These two long pieces signify your return to progressive rock, eleven years after “The Raven That Refused to Sing (And Other Stories).” Is that accurate?
“Absolutely. While this isn’t a nostalgic-sounding album, I acknowledge that it is a traditional piece of conceptual rock, reminiscent of the ‘Dark Side of the Moon’ and ‘Tubular Bells.’ This element has enriched my career. However, this album distinctly embodies the essence of two long tracks, capitalizing on the progressive rock genre.”
You have expressed ambivalence about being labeled a progressive rock artist in recent years and have shifted away from that label in your albums. Were you apprehensive about embracing this style again?
“I anticipated that some fans might appreciate the concept of ‘Overview.’ My primary concern revolved around how my record label, management, and the media would respond.”
“In many ways, I was proven wrong. It seems that the timing for this album aligns with a resurgence in the re-evaluation of progressive ideals. I never expected it to generate excitement within the British media, but it’s happening. This illustrates that old rules no longer apply. It’s not about genre anymore; it’s about whether the music stands out and possesses something unique. That’s what seems to resonate right now.”
The title track features electronics rather than traditional prog elements…
“The initial section evokes what Autechre might create. I’m not attempting to filter my musical identity. Many elements distinctly reflect my style: transitioning from 90s electronics to 70s-inspired atmospheres, incorporating classic singer-songwriter styles, and even heavy riffs. This is my musical evolution on display.”
https://www.youtube.com/watch?v=GPFCL5K7VZ8
Why did you choose to collaborate with Miles Scarin for the album?
“Typically, I would commission a video for four singles. However, this approach felt inadequate for ‘Overview,’ so I decided to invest that budget into one director capable of creating a cohesive 42-minute visual experience.”
“Miles and I initially discussed the opening scene featuring an alien emerging from a pond asking, ‘Have you forgotten about me?’ The lyrics provide strong cues for visual interpretation, and Miles conducted more scientific research into the universe’s facts for the title track.”
“The goal was to create visual effects that had not been seen countless times before. We’ve all seen Interstellar and the many NASA clips. What new perspectives can we offer? I believe Miles has achieved that.”
Your previous album, “The Harmony Codex,” was primarily crafted by Porcupine Tree. How does this reunion fit into “Overview”?
“My solo act has influenced Porcupine Tree far more than the other way around. In my earlier days with the band, I wrote most of the material, establishing a more dictatorial dynamic. For our return as a band, it was vital that our process became more collaborative and democratic. I couldn’t have accomplished this without the foundation my solo career provided. It’s liberating to work together again, allowing for compromise with the other members.”
“It’s great to be in a group dynamic, sharing the experience with others.”
- READ MORE: Porcupine Tree: “We are a typical cult group”
Does this mean we can expect more new music from Porcupine Tree?
“We already have a couple of songs written. While we’re not promising a definitive new entry, I suspect we’ll eventually gravitate towards a new album. We find joy in creating new music, and gradually, it’s morphing into something special.”
Last July, you posted on Instagram about the infamous meme where you held up a sign reading “Coldplay – Wankers.” Why was this the right time? Is it because of Coldplay’s recent music, like “Music of the Spheres,” connecting to the themes of “Overview”?
“Not necessarily, but now that you mention it, that’s certainly a possibility. The truth is, I was browsing through photos on my phone and stumbled upon that picture. I thought, ‘Oh! I remember this!’
“It was a fun moment to capture. Someone handed me that sign and another person took the picture at just the right instant. This had turned into a reputation for hating Coldplay, although I actually like them. I was curious why I had received that sign in the first place. My Instagram post was meant to be lighthearted. You’re right; Coldplay’s track ‘Coloratura’ resides within the same lyrical and musical realm as my new album.”
You’ve also done a lot of spatial audio mixes for classic albums. Where do you see spatial audio heading in the future?
“The sonic atmosphere has incredible potential, and incorporating speakers below ground can enhance it. However, significant innovations might not occur solely through spatial expansion. I believe the key will be integrating it into live contexts. Currently, calibrating and configuring the acoustics takes an inordinate amount of time, complicating things when performing in a different city each night. However, with venues like the Sphere in Las Vegas beginning to offer spatial audio, there’s hope for an exciting trajectory in the coming years.”
Speaking of live performances, what are your plans for the “Overview” tour?
“It will be an incredible experience for audiences. The show aims to be epic, focusing on grand gestures, as people increasingly seek memorable events. This could mean an anniversary celebration, but it should deliver something unique—not just a conventional rock band stepping on stage to perform a set. From the moment audiences enter the venue, they should feel engaged. I’m brainstorming how to craft these shows distinctively.”
The “Overview” album will be released on March 14. The premiere of the accompanying film will take place in London IMAX on February 25, prior to Wilson’s full European, UK, and North American tour. Visit here for tickets and further information.
MARCH
1 – Cirkus, Stockholm
2 – Konserthaus, Oslo
4 – KB Hallen, Copenhagen
6 – Mitsubishi Electric Halle, Dusseldorf
7 – Cirque Royale, Brussels
9 – Symphony Hall, Birmingham
10 – bicon, Bristol
12-13, 19-20 – Palladium, London
15 – O2 City Hall, Newcastle
16 – Royal Concert Hall, Glasgow
18 – Loury, Manchester
22 – Afas Live, Amsterdam
24-26 – Salle Playel, Paris
28-29 – Bourse du Travail, Lyon
30 – Porsche Arena, Stuttgart
31 – Zenit, Munich
JUNE
2 – Friedrichspalast, Berlin
3 – Sporthalle, Hamburg
4 – Cos Torwar Arena, Warsaw
5 – Warrizer, Gliwice
7 – Teatro Degli Archimboldi, Milan
8 – Auditorium Parco Della Musica, Rome
10 – Hall, Zurich
11 – Cepac Silo, Marseille
12 – Paras-Lel 62, Barcelona
13 – Sala la Rivier, Madrid
SEPTEMBER
9 – Masonic, San Francisco
10 – Wiltern, Los Angeles
11 – Magnolia, El Cajon
12 – Van Buren, Phoenix
14 – Paramount Theater, Denver
16 – Theater Orpheum, Minneapolis
17 – Auditorium Theater, Chicago
19 – Philmore, Detroit
20 – Park 20 mg, Northfield
22 – Danforth Music Hall, Toronto
25 – Mtelus, Montreal
27 – Theater Capital, Quebec
29 – Schubert Theater, Boston
30 – Capitol Theater, Port Chester
OCTOBER
2 – Brooklyn Paramount Theater, New York
4-5 – Philmore, Philadelphia
7 – Warner Theater, Washington
9 – Schinius, Atlanta
11 – Majestic Theater, Dallas
13 – Auditorio Telmex, Guadalajara
14 – Pepsi Center WTC, Mexico City
17 – Tokio Marine Hall, Sao Paulo
19 – Movistar Arena, Santiago
https://www.nme.com/news/music/steven-wilson-interview-overview-space-porcupine-tree-new-music-coldplay-prog-tour-3839022?utm_source=rss&utm_medium=rss&utm_campaign=steven-wilson-interview-overview-space-porcupine-tree-new-music-coldplay-prog-tour
