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Track Listings
| 1. Grace for Drowning |
| 2. Sectarian |
| 3. Deform to Form a Star |
| 4. No Part of Me |
| 5. Postcard |
| 6. Raider Prelude |
| 7. Remainder the Black Dog |
| 8. Belle De Jour |
| 9. Index |
| 10. Track One |
| 11. Raider II |
| 12. Like Dust I Have Cleared from My Eye |
Editorial Reviews
This is the high resolution Blu-Ray format version of the Steven Wilson Grace For Drowning Release. It features the Album in hi resolution 5.1 stereo audio plus 2 bonus tracks, six work in progress demo versions and 5 promo videos.
Customer Reviews
Most Helpful Customer Reviews
101 of 105 people found the following review helpful
By Murat Batmaz
Format:Audio CD
Grace for Drowning eclipses Steven Wilson's first solo album both in scope and composition. It covers a broader spectrum of sounds. While Insurgentes was heavily inspired by Wilson's love for 80s new-wave music, borrowing musical traits from Talking Heads, Joy Division, and The Cure, this album harkens back to the early 70s, with songs being highly experimental, much darker, and a lot more progressive.
Having worked on a lot of early King Crimson material lately, there is no denying that some of the influence has crept into Steven Wilson's songwriting vision. This album is more daring in its approach to melody construction and flow. There are a lot of jazzy elements with extended passages for improvised instrumental bliss. Thanks to the jazz-inflicted drumming, there is plenty of dialogue between the soloists, but the Steven Wilson sound is fully intact. The compositions are characterized by dense soundscapes, but each piece is fragmented with lush, easier-to-digest instrumentation. The tension-filled "Sectarian" involves utterly dark acoustic guitars underscored by eerie percussion, tense silences, weird stop-start riffing at once bringing to mind a strange marriage between Univers Zero and Thinking Plague, but the second half is very accessible due to the sudden shift of mood highlighting the blend of the jazzy piano and Mellotron swells.
Some tracks start and end abruptly while others serve as shorter pieces that tie them together. Wilson sets melting pianos and rising synth modulations against melodic constructs. However, the tracks lack tonal centres, and there is a vast array of electric and acoustic beats with shades of texture placed into sparse arrangements. There is no hierarchy of pitches focusing on a central note. Rather, the notes function independently of each other without adhering to tonal principles. This obviously makes some of the songs a more demanding yet at the same time more rewarding listen.
At face value, some fans may write the album off as meandering, too slow, or too long, but this album seems very defined beneath the surface. Yes, it is long, but Steven Wilson chose to spread it over two 40-minute discs, rather than cramming it all onto a single CD. He hopes fans will tackle each album independently instead of trying to take all of it in at one sitting. The first disc is a little more song-oriented while the second one is darker and more experimental. That said, there are songs on each disc that are coterminous with each other. The short two-minute instrumental "Raider Prelude" on the first disc is actually just a foreshadowing of the 20-plus-minute progressive epic "Raider II" from the second CD. This monstrous composition recalls Lizard-era King Crimson in terms of ambition and breadth. Replete with Jordan Rudess' electric piano interludes and Mellotron-infested sound manipulations, it boasts cascades of guitars resolving with odd-time signatures under hypnotic, trance-like passages. All the while, Theo Travis' coiling flute and sax lines weave in and out of the dissonant composition, deconstructing it to its calm finale.
Do not listen to this album in hopes of figuring out in which tunes the stunning list of guest musicians play. Jordan Rudess' contribution to the album is very uncharacteristic for him. His Grand piano on "Deform to Form a Star" sounds nothing like he's done in Dream Theater, perhaps because the song puts the piano in the back in favour of Wilson's stunning vocals following a silvery guitar solo. Similarly, Tony Levin's bass is utilized for a strong low-end here. Unless you're a crazy fan of King Crimson's criminally underrated album The ConstruKction of Light and the dazzling The Power to Believe, you won't notice it's Pat Mastolotto playing on the Blackfield-like "No Part of Me," whose instrumental break is punctuated by Trey Gunn's heavier-than-everything Warr guitar.
The only song that will give away its guest is probably "Remainder the Black Dog" with Steve Hackett providing his unique, gorgeous fretwork. Hackett is easy to distinguish because of his tone and phrasing: he juxtaposes fusion-inflicted notes with dissonant melodies before allowing a groove-locked bass solo to shake the very grounds you stand on. It's a killer song that evokes Wilson's work on No-Man's Returning Jesus in places, but this one is more chaotic and heavier.
Also, there is the beautifully crafted, chilling dark pop of "Postcard" which sounds like Blackfield crossed with Steven Wilson's 'daily life' lyrics delivered over a haunting piano-acoustic guitar theme and the more modern-sounding "Index" where Wilson emotes spoken vocals with narcotic melodies and Mastelotto's rolling drum beat accompaniment. All throughout, the mix and production are ingenious, possibly Wilson's best.
Lyrically, the album is inspired by stories of people who have had near death experiences, particularly with drowning. It is about the state of calm one gets into after the struggling, but the title may also be a metaphor for 'drowning' in the stress and speed of modern city life, which has been the subject matter of many of Wilson's recent songs.
If I were forced to make a choice for a single album in the experimental progressive genre, I would be torn between this album and Garden Wall's Assurdo. Grace for Drowning is some of the most beautiful music I have heard this year. Beautiful in a strange way.
(This is also a very personal album for Steven Wilson. In the liner notes, he dedicates it to his father, who he lost earlier this year.)
Having worked on a lot of early King Crimson material lately, there is no denying that some of the influence has crept into Steven Wilson's songwriting vision. This album is more daring in its approach to melody construction and flow. There are a lot of jazzy elements with extended passages for improvised instrumental bliss. Thanks to the jazz-inflicted drumming, there is plenty of dialogue between the soloists, but the Steven Wilson sound is fully intact. The compositions are characterized by dense soundscapes, but each piece is fragmented with lush, easier-to-digest instrumentation. The tension-filled "Sectarian" involves utterly dark acoustic guitars underscored by eerie percussion, tense silences, weird stop-start riffing at once bringing to mind a strange marriage between Univers Zero and Thinking Plague, but the second half is very accessible due to the sudden shift of mood highlighting the blend of the jazzy piano and Mellotron swells.
Some tracks start and end abruptly while others serve as shorter pieces that tie them together. Wilson sets melting pianos and rising synth modulations against melodic constructs. However, the tracks lack tonal centres, and there is a vast array of electric and acoustic beats with shades of texture placed into sparse arrangements. There is no hierarchy of pitches focusing on a central note. Rather, the notes function independently of each other without adhering to tonal principles. This obviously makes some of the songs a more demanding yet at the same time more rewarding listen.
At face value, some fans may write the album off as meandering, too slow, or too long, but this album seems very defined beneath the surface. Yes, it is long, but Steven Wilson chose to spread it over two 40-minute discs, rather than cramming it all onto a single CD. He hopes fans will tackle each album independently instead of trying to take all of it in at one sitting. The first disc is a little more song-oriented while the second one is darker and more experimental. That said, there are songs on each disc that are coterminous with each other. The short two-minute instrumental "Raider Prelude" on the first disc is actually just a foreshadowing of the 20-plus-minute progressive epic "Raider II" from the second CD. This monstrous composition recalls Lizard-era King Crimson in terms of ambition and breadth. Replete with Jordan Rudess' electric piano interludes and Mellotron-infested sound manipulations, it boasts cascades of guitars resolving with odd-time signatures under hypnotic, trance-like passages. All the while, Theo Travis' coiling flute and sax lines weave in and out of the dissonant composition, deconstructing it to its calm finale.
Do not listen to this album in hopes of figuring out in which tunes the stunning list of guest musicians play. Jordan Rudess' contribution to the album is very uncharacteristic for him. His Grand piano on "Deform to Form a Star" sounds nothing like he's done in Dream Theater, perhaps because the song puts the piano in the back in favour of Wilson's stunning vocals following a silvery guitar solo. Similarly, Tony Levin's bass is utilized for a strong low-end here. Unless you're a crazy fan of King Crimson's criminally underrated album The ConstruKction of Light and the dazzling The Power to Believe, you won't notice it's Pat Mastolotto playing on the Blackfield-like "No Part of Me," whose instrumental break is punctuated by Trey Gunn's heavier-than-everything Warr guitar.
The only song that will give away its guest is probably "Remainder the Black Dog" with Steve Hackett providing his unique, gorgeous fretwork. Hackett is easy to distinguish because of his tone and phrasing: he juxtaposes fusion-inflicted notes with dissonant melodies before allowing a groove-locked bass solo to shake the very grounds you stand on. It's a killer song that evokes Wilson's work on No-Man's Returning Jesus in places, but this one is more chaotic and heavier.
Also, there is the beautifully crafted, chilling dark pop of "Postcard" which sounds like Blackfield crossed with Steven Wilson's 'daily life' lyrics delivered over a haunting piano-acoustic guitar theme and the more modern-sounding "Index" where Wilson emotes spoken vocals with narcotic melodies and Mastelotto's rolling drum beat accompaniment. All throughout, the mix and production are ingenious, possibly Wilson's best.
Lyrically, the album is inspired by stories of people who have had near death experiences, particularly with drowning. It is about the state of calm one gets into after the struggling, but the title may also be a metaphor for 'drowning' in the stress and speed of modern city life, which has been the subject matter of many of Wilson's recent songs.
If I were forced to make a choice for a single album in the experimental progressive genre, I would be torn between this album and Garden Wall's Assurdo. Grace for Drowning is some of the most beautiful music I have heard this year. Beautiful in a strange way.
(This is also a very personal album for Steven Wilson. In the liner notes, he dedicates it to his father, who he lost earlier this year.)
26 of 28 people found the following review helpful
By M. Podolski
Format:Audio CD
I was a little underwhelmed with the recent Blackfield release, so I came to this new solo work with my expectations somewhat dampened. Happily, this album is a masterpiece, a veritable smorgasbord of rich musical ideas, dazzling musicianship and wonderful sound engineering. This is truly music as art in a world where the majority of music has become cheap filler (quite literally unfortunately, gotta have something to fill up those gaping empty gigabytes on your brand new iPod, right?). My one small quibble with the existing reviews on this site is that the track Raider II needs time to sit and mature before you pass judgement on it, I too was a little overwhelmed by it initially, but having returned to it many times, it's now a standout track that takes my breath away. Mr. Wilson, with this work you have joined a very exclusive club of artistic genii, and I applaud you for your staunch determination in sticking with a high quality approach to everything you do.
35 of 40 people found the following review helpful
By B. Allen
Format:Audio CD|Amazon Verified Purchase
Perhaps calling this latest work from unofficial Prog scene director Steven Wilson "Album of the Year" is perhaps fanboyism. However, it's clear that this album received more time and attention from it's creator in order to produce a complete work, a complete and cohesive album that still transcends genere's and musical styles.
Insurgentes, Steven Wilson's first solo record and the work that precedes Grace For Drowning, had some incredible songs on it. But Insurgentes seemed to have more "mood" or noise pieces that after 2.5 dozen listens tend to get skipped by even the most avid Steven Wilson listener. Grace For Drowning however, provides so much more content, so many more complete songs that are beautifully arranged and sequenced on the album that you can easily pass the one hour and 22 min listening to the whole work from top to bottom without really getting bored. Each song is interesting and complete here.
I will agree with the first reviewer that posted here in that Raider II, the 24 min long epic track on Disc 2 ends up being a little bit of an outlier for this record. It's actually quite a fantastic piece of work and a tremendous adaptation of the early King Crimson 'sound' from the late 60's and early 70's. However, it's long for the sake of being long and perhaps a 12 min long edit of the song would sit better with the listener as what is recorded. After the song seems to end for the 3rd time and you look at the time remaining finding another 10 min, it's extremely tempting to skip to the next track.
But Raider II's over indulgence is just like of those long, gentle speedbumps that are so easy to drive over on an otherwise beautifully paved stretch of musical highway. That highway also goes through some sweet mountains. In the fall with the leaves looking cool. During a super awesome sunset. In the Magic Schoolbus but with that weird, evil horned and hooded M. Knight Shyamalan-type character that Wilson has all those pictures of on the website sitting in the back making you uncomfortable and making your hair stand on end when you go through tunnels on that same highway. Mainly because you're afraid he's going to light that flare of his and make things look scary.
If you don't know what I'm talking about, watch the video for the song "Track One" on youtube.
I'll also add that Wilson suggests in some recent interviews that Grace For Drowning is the "sister" album to Opeth's recent release "Heritage" Having listened extensively to both, GFD starkly different from Opeth's release but much of the inspiration for both albums come from the great progressive works from the early 70's and I can agree with that.
Insurgentes, Steven Wilson's first solo record and the work that precedes Grace For Drowning, had some incredible songs on it. But Insurgentes seemed to have more "mood" or noise pieces that after 2.5 dozen listens tend to get skipped by even the most avid Steven Wilson listener. Grace For Drowning however, provides so much more content, so many more complete songs that are beautifully arranged and sequenced on the album that you can easily pass the one hour and 22 min listening to the whole work from top to bottom without really getting bored. Each song is interesting and complete here.
I will agree with the first reviewer that posted here in that Raider II, the 24 min long epic track on Disc 2 ends up being a little bit of an outlier for this record. It's actually quite a fantastic piece of work and a tremendous adaptation of the early King Crimson 'sound' from the late 60's and early 70's. However, it's long for the sake of being long and perhaps a 12 min long edit of the song would sit better with the listener as what is recorded. After the song seems to end for the 3rd time and you look at the time remaining finding another 10 min, it's extremely tempting to skip to the next track.
But Raider II's over indulgence is just like of those long, gentle speedbumps that are so easy to drive over on an otherwise beautifully paved stretch of musical highway. That highway also goes through some sweet mountains. In the fall with the leaves looking cool. During a super awesome sunset. In the Magic Schoolbus but with that weird, evil horned and hooded M. Knight Shyamalan-type character that Wilson has all those pictures of on the website sitting in the back making you uncomfortable and making your hair stand on end when you go through tunnels on that same highway. Mainly because you're afraid he's going to light that flare of his and make things look scary.
If you don't know what I'm talking about, watch the video for the song "Track One" on youtube.
I'll also add that Wilson suggests in some recent interviews that Grace For Drowning is the "sister" album to Opeth's recent release "Heritage" Having listened extensively to both, GFD starkly different from Opeth's release but much of the inspiration for both albums come from the great progressive works from the early 70's and I can agree with that.
Most Recent Customer Reviews
5.0 out of 5 stars
With studying
A friend recently turned me onto Steven Wilson. I wasn't a huge fan of Porcupine Tree, but find Wilson's solo stuff to be a beautiful mix of the left and right brain. Read more
Published 1 month ago by S. Macdiarmid
4.0 out of 5 stars
Steven Wilson does his own thing
Not conforming to the main stream Steven
Wilson performs his own music his own way. Not all song make it though.
Wilson performs his own music his own way. Not all song make it though.
Published 1 month ago by greg wolmering
3.0 out of 5 stars
Very mixed feelings.
I have been trying to follow Steven Wilson's career as much as I can since I learned of him shortly after Porcupine Tree's 'In Absentia' was released. Read more
Published 3 months ago by Nathan Hatton
5.0 out of 5 stars
Amazing.
This is one long beautiful album with such musical variety and interesting experimentation. Great price for a 2-CD package too.
Published 4 months ago by Joshua Shining
5.0 out of 5 stars
Steven is the man
This is the best record of the last 20 years. It's an amazing piece of art. It cannot be better than this. Forget the PT comparission. Read more
Published 5 months ago by Gustavo Cirigliano
4.0 out of 5 stars
More work than Insurgents but ultimately very good
Steve Wilson continues to amaze me. I discovered him when I stumbled upon Porcupine Tree's Deadwing CD. Read more
Published 5 months ago by RDC
5.0 out of 5 stars
New music with great musical roots
This is a great album that pays homage to progressive classics of the seventies while preserving its own identity. Read more
Published 6 months ago by Brad Teare
5.0 out of 5 stars
Another Masterpiece
A bit quieter than his last... this man is a master! After listening to this or his work in Porcupine Tree in 5.1, I never want to go back to stereo.
Published 8 months ago by John Gilliam
2.0 out of 5 stars
Meh. I don't understand the praise this album is getting.
I'm a big Porcupine Tree fan, and I have to say I greatly prefer PTree to Steven's solo work. I gave this a couple of listens, but I'm sorry, to me this is just boring. Read more
Published 9 months ago by Darren X
5.0 out of 5 stars
Masterpiece
This work by Mr. Wilson is in my opinion a career-defining moment. I'm not going to go into song breakdowns etc., but just to say do not hesitate to buy this record. Read more
Published 9 months ago by Coltrane
Listmania!
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