Cancel your Amazon order and order it from Bull Moose. They have it in stock. You'll have it by the weekend.
HiRez Poll Wilson, Steven - TO THE BONE [Blu-Ray Audio]
- Thread starter rtbluray
- Start date
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Cancel your Amazon order and order it from Bull Moose. They have it in stock. You'll have it by the weekend.
Good idea, the last I ordered from Bullmoose and I was happy.
I've had this for a few months. Listened to it many time. Love it. But I have never watched the 1.5 hour Making of To The Bone video. I highly recommend it. Gives really interesting insight into the making of the album.
I agree about the making of documentary. I am always fascinated by the recording process and Steven Wilson has included these types of things on several of his releases. I wish more artists would do that.
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I finally found time today to listen to the blu ray surround all the way through in one session. I do like this album and the fidelity is excellent as expected and it is another change of direction providing real variety. I have decided to vote an 8 as musically it doesn't quite draw me in as much as my absolute favourite SW album which is the Raven That Refused To Sing. I think this comes from my almost life long liking for prog rock (not only that but a significant part) and it sounded as if prog was being rebooted.
Anyway, I am really looking forward to seeing SW in concert again in just over a week at the Royal Albert Hall.
Anyway, I am really looking forward to seeing SW in concert again in just over a week at the Royal Albert Hall.
I think this is SW's best album yet, certainly the most commercial one. It's great that his done something different, that is more mainstream pop, rather than the usual prog rock, although there are still eliments of that musical style. Ninet Tayeb, is an amazing singer. Their vocals complement one another so well.
I'm at at an 8 here. But there are parts (I don't always look at track names) that I really like with others not as much, so I think an 8 is fair and in no way do I have anything bad to say.
It's a reflection of those who do not like Wilson's attempt at expanding his genre. I personally think it's spectacular.
I can explain either it's much better that HCE IMHO. Not quite raven through
The56Kid
2K Club - QQ Super Nova
Finally voted on this and I gave it a 10. Although the content may not be my favorite of Wilson's solo albums (Grace for Drowning occupies that spot), it sounds so freakin' great (LPCM 5.1) that anything less than a 10 would be an injustice. The fidelity, clarity, and discreteness are all top notch!
this was sitting in my pile of things to listen to for three months. just realised today and finally listened. it's spinning now for the third time, i'm in love with this album. while some of the content is a bit too polished for me at times, overall it's just lovely and the production is immaculate. a 10 from me.
I voted 10. This is a great release. The surround is impeccable of course but the music is really good. My now second favorite to The Raven.
fthesoundguy
Senior Member
Before listening to this 5.1 mix, this album is probably his most hit or miss for me. I loved half this album while the other half could have just gone away. There were a couple of surprises that I didn’t think would be great and they are. Now I love just about the whole record.
To The Bone: The low end sounds just awesome on this entire album. Starts off with a GREAT track that is probably my favorite on this album. There’s shakers and bongos going on in the surrounds and harmonica comes peeking out of the SR from time to time. This one doesn’t have a ton of super discrete things happening but the mix sounds just perfect. There’s a part at the vocal breakdown which is coming out of the 4 corners, but it doesn’t blur where anything is. You are just surrounded by them perfectly.
Nowhere, Now: This was a song that I was not sold on during my listens of the stereo release. Those “heartbeats” that start off the song in the surrounds and move towards the fronts are awesome and ear catching. The backing vocals sound really full and are just mixed perfectly. I LOVE the foreshadowing to the main Permanating piano riff. Another wonderful song that made it much more enjoyable in 5.1
Pariah: Love the sequencer starting off in the surrounds, while a synth is up in the fronts. Ninet’s performance in this song is something that just has to be heard. That synth that comes on after her scream is just so powerful and combines with her voice so well. It gives me goosebumps every time I listen to it.
The Same Asylum As Before: His Falsetto here in the beginning doesn’t really work for me. I feel he could have just sang it normally and it would have been better. Mostly acoustic sitting back in the surrounds for this one. When the distorted guitars come in (SW singing the title over and over again), the synth in that was in rears get thrown to the fronts as well and works like the vocal breakdown in TTB. Honestly, probably the best moment of this record comes with the distorted guitar solo. It’s being panned EVERYWHERE chaotically and really took me by surprise! It them mellows out to a Gilmour-ish solo, which I just love. The end of this song is really crazy with what was in the mix and one of the only real moment of feeling overwhelmed by what I was hearing.
Refuge: As far as placement goes, there’s a synth that sits in the surrounds for most of the song. There’s also a small point where a sequencer that starts on the right side (fading to the RS), and then a different beat comes in on the left side (and fades to the LS). It doesn’t last long, but it’s a really cool ear catching moment when not much is happening. This song gets really epic with that harmonica and guitar solo and then just goes into overdrive with those piercing and soaring Gilmour-like notes, which I wasn’t expecting from the start of it. At the end, there are those child chants coming from the phantom surround that keep my attention. That lonely harp in the Surround Right at the end is just lovely as well. This is just a lovely song, which I would usually skip before and now thanks to this mix, It’s one of my favorites.
Permanating: Whoa, the kick drum is thumping on this one! Was not expecting a straight up dance hit, especially after the soft-ish song beforehand. There are some synths moving around in the surrounds a bit, but the first half is very front heavy. Once the guitar solo comes in, some piano gets shifted mainly to the rears. There is a great vocal delay during the break and it makes this mix. It really feels like i’m swimming in the vocal delays/verb. Those synths at the fadeout in the surrounds just sound really nice to me as well.
Blank Tapes: This album has a great push and pull between exciting and soft songs. This is another soft one but it’s mix works! Instruments pop up in all sort of speakers as the song continues. I like the guitar and piano being opposites in the FR and SL. There’s some bells hiding in the SL and the female vocal also gets shifted back there at the end as well.
People Who Eat Darkness: Two vocal delays (“The Wall” and “Stairs”) gets thrown around at the beginning. It’s a great start to probably the most active song on this record! A guitar riff gets thrown around the field in a really great way (every note is in a different speaker) which is another great ear catching moment! There’s a nice synth note that goes “flying” off as well. The vocal moment with the backing vocal in the phantom surround sounds awesome! Especially with the heavy amount of reverb happening.
Song of I: This is the first song I heard off this album and at the time, I was highly unimpressed. Kept me from listening to anything else from SW in general for quite some time. I’ve come to like it a lot more with this mix! I like how the claps/drum samples are on the right and the keyboard/synth is on the left. There’s a creepy vocal coming up from SR a couple of times, which surprised me. I love that build up of everything halfway through the song. The vocal reverb at the end really sounds wonderful (with said creepy vocal still there from time to time!)
Detonation: And now we get to the point of this album that mentally, I am just done. It’s funny that it comes at a pretty progressive song, but it doesn’t really do anything for me until the second half of the song. There are some good moments with some of the sound effects moving around and some backing vocal work but once the drums come in, It’s just kind of bland. Once the synths in the rears with some percussion and guitars in the fronts start, it’s wonderful compared to the first half of the song. I love how it keeps building up with a solo and extra instruments until it’s a chaotic, overwhelming mess by the end of it! And I love every second of that.
Song of Unborn: Theres a couple of tom fills that happen during the song and they are great! I can definitely hear it thundering into the room. There’s that circulating sound effect that starts to make its ay from the front left back across the surrounds to SR. The chanting vocal part is awesome! Backing vocal sections are yet again awesome because they sound so damn full. The vocal fade from the front to the surrounds just ends this album perfectly as well.
I have to say, this is not an active mix. But it is a phenomenally mixed album. Everything is placed perfect and there is so much blending going on, but doesn’t mask anything important. The records I've heard that do that, do not do it well, but this one is just exceptional. This one is just perfect and the end result is that everything is so full and lush sounding. I’ve listening to this four different times while tweaking my system’s setup (With a couple more spins after that) and this last one just hit it perfectly. With how he is blending things across the spectrum, it is vital that everything is phase aligned the best it can be (and I don't have it perfect yet!). This is the best “immersive” mix i’ve ever heard. The quality of the whole frequency spectrum cannot be doubted here. It’s like you are surrounded in a sonic blanket of greatness. I know I said it before, but the low end is INCREDIBLE on this album.
If I had to say one bad thing about this record is that it is just a bit too long. I just about like every song on this record now, but 1 or 2 of them could go to get this album around 45 minutes instead of an hour. I also don’t like how he uses the mids (400-800hz) on pretty much all his albums. His center channel vocals stick out like a sore thumb to me. They definitely could be a little clearer and using a little parametric EQ to that region helps it out.
I’m going to give this a 10. I have come back to this album so many times because it just sounds so damn good. I have this weird theory that in 2017, SW’s really figured out what a phenomenal 5.1 mix should be fidelity wise (This, Marillion’s Brave, Misplaced Childhood and Rush’s AFTK are all just fantastic from the lows to the highs). Everything after this year that he’s put out I have been a huge fan of while before 2017, some of his mixes left a little to be desired. (Raven and HCE are great, but they are not this record). Musically, I’m not sure if its better than Raven of HCE, but i’ve weirdly played this one way more than those and I don’t really know why. This is just a really fun record to listen to.
He mentioned recently in an interview that he’s remixing his whole catalog in Atmos and this is the record that I am very curious to see if he will be a bit more adventurous.
Mix Highlights: To The Bone, The Same Asylum As Before, Refuge People Who Eat Darkness, Second half of Detonation
To The Bone: The low end sounds just awesome on this entire album. Starts off with a GREAT track that is probably my favorite on this album. There’s shakers and bongos going on in the surrounds and harmonica comes peeking out of the SR from time to time. This one doesn’t have a ton of super discrete things happening but the mix sounds just perfect. There’s a part at the vocal breakdown which is coming out of the 4 corners, but it doesn’t blur where anything is. You are just surrounded by them perfectly.
Nowhere, Now: This was a song that I was not sold on during my listens of the stereo release. Those “heartbeats” that start off the song in the surrounds and move towards the fronts are awesome and ear catching. The backing vocals sound really full and are just mixed perfectly. I LOVE the foreshadowing to the main Permanating piano riff. Another wonderful song that made it much more enjoyable in 5.1
Pariah: Love the sequencer starting off in the surrounds, while a synth is up in the fronts. Ninet’s performance in this song is something that just has to be heard. That synth that comes on after her scream is just so powerful and combines with her voice so well. It gives me goosebumps every time I listen to it.
The Same Asylum As Before: His Falsetto here in the beginning doesn’t really work for me. I feel he could have just sang it normally and it would have been better. Mostly acoustic sitting back in the surrounds for this one. When the distorted guitars come in (SW singing the title over and over again), the synth in that was in rears get thrown to the fronts as well and works like the vocal breakdown in TTB. Honestly, probably the best moment of this record comes with the distorted guitar solo. It’s being panned EVERYWHERE chaotically and really took me by surprise! It them mellows out to a Gilmour-ish solo, which I just love. The end of this song is really crazy with what was in the mix and one of the only real moment of feeling overwhelmed by what I was hearing.
Refuge: As far as placement goes, there’s a synth that sits in the surrounds for most of the song. There’s also a small point where a sequencer that starts on the right side (fading to the RS), and then a different beat comes in on the left side (and fades to the LS). It doesn’t last long, but it’s a really cool ear catching moment when not much is happening. This song gets really epic with that harmonica and guitar solo and then just goes into overdrive with those piercing and soaring Gilmour-like notes, which I wasn’t expecting from the start of it. At the end, there are those child chants coming from the phantom surround that keep my attention. That lonely harp in the Surround Right at the end is just lovely as well. This is just a lovely song, which I would usually skip before and now thanks to this mix, It’s one of my favorites.
Permanating: Whoa, the kick drum is thumping on this one! Was not expecting a straight up dance hit, especially after the soft-ish song beforehand. There are some synths moving around in the surrounds a bit, but the first half is very front heavy. Once the guitar solo comes in, some piano gets shifted mainly to the rears. There is a great vocal delay during the break and it makes this mix. It really feels like i’m swimming in the vocal delays/verb. Those synths at the fadeout in the surrounds just sound really nice to me as well.
Blank Tapes: This album has a great push and pull between exciting and soft songs. This is another soft one but it’s mix works! Instruments pop up in all sort of speakers as the song continues. I like the guitar and piano being opposites in the FR and SL. There’s some bells hiding in the SL and the female vocal also gets shifted back there at the end as well.
People Who Eat Darkness: Two vocal delays (“The Wall” and “Stairs”) gets thrown around at the beginning. It’s a great start to probably the most active song on this record! A guitar riff gets thrown around the field in a really great way (every note is in a different speaker) which is another great ear catching moment! There’s a nice synth note that goes “flying” off as well. The vocal moment with the backing vocal in the phantom surround sounds awesome! Especially with the heavy amount of reverb happening.
Song of I: This is the first song I heard off this album and at the time, I was highly unimpressed. Kept me from listening to anything else from SW in general for quite some time. I’ve come to like it a lot more with this mix! I like how the claps/drum samples are on the right and the keyboard/synth is on the left. There’s a creepy vocal coming up from SR a couple of times, which surprised me. I love that build up of everything halfway through the song. The vocal reverb at the end really sounds wonderful (with said creepy vocal still there from time to time!)
Detonation: And now we get to the point of this album that mentally, I am just done. It’s funny that it comes at a pretty progressive song, but it doesn’t really do anything for me until the second half of the song. There are some good moments with some of the sound effects moving around and some backing vocal work but once the drums come in, It’s just kind of bland. Once the synths in the rears with some percussion and guitars in the fronts start, it’s wonderful compared to the first half of the song. I love how it keeps building up with a solo and extra instruments until it’s a chaotic, overwhelming mess by the end of it! And I love every second of that.
Song of Unborn: Theres a couple of tom fills that happen during the song and they are great! I can definitely hear it thundering into the room. There’s that circulating sound effect that starts to make its ay from the front left back across the surrounds to SR. The chanting vocal part is awesome! Backing vocal sections are yet again awesome because they sound so damn full. The vocal fade from the front to the surrounds just ends this album perfectly as well.
I have to say, this is not an active mix. But it is a phenomenally mixed album. Everything is placed perfect and there is so much blending going on, but doesn’t mask anything important. The records I've heard that do that, do not do it well, but this one is just exceptional. This one is just perfect and the end result is that everything is so full and lush sounding. I’ve listening to this four different times while tweaking my system’s setup (With a couple more spins after that) and this last one just hit it perfectly. With how he is blending things across the spectrum, it is vital that everything is phase aligned the best it can be (and I don't have it perfect yet!). This is the best “immersive” mix i’ve ever heard. The quality of the whole frequency spectrum cannot be doubted here. It’s like you are surrounded in a sonic blanket of greatness. I know I said it before, but the low end is INCREDIBLE on this album.
If I had to say one bad thing about this record is that it is just a bit too long. I just about like every song on this record now, but 1 or 2 of them could go to get this album around 45 minutes instead of an hour. I also don’t like how he uses the mids (400-800hz) on pretty much all his albums. His center channel vocals stick out like a sore thumb to me. They definitely could be a little clearer and using a little parametric EQ to that region helps it out.
I’m going to give this a 10. I have come back to this album so many times because it just sounds so damn good. I have this weird theory that in 2017, SW’s really figured out what a phenomenal 5.1 mix should be fidelity wise (This, Marillion’s Brave, Misplaced Childhood and Rush’s AFTK are all just fantastic from the lows to the highs). Everything after this year that he’s put out I have been a huge fan of while before 2017, some of his mixes left a little to be desired. (Raven and HCE are great, but they are not this record). Musically, I’m not sure if its better than Raven of HCE, but i’ve weirdly played this one way more than those and I don’t really know why. This is just a really fun record to listen to.
He mentioned recently in an interview that he’s remixing his whole catalog in Atmos and this is the record that I am very curious to see if he will be a bit more adventurous.
Mix Highlights: To The Bone, The Same Asylum As Before, Refuge People Who Eat Darkness, Second half of Detonation
Went back and listened to this one today since I had been listening to The Future Bites and Hand Cannot Erase. I was a bit meh about this one when it came out compared to Hand Cannot Erase. It still had its moments, but most things are a letdown compared to HCE.
This is a very good album still, and I don't think that's because I'm letdown by TFB. It really has some stellar moments and a few of those subtle tracks that are just perfect as "filler" (filler by SW standards). It mostly straddles the line of pop/prog, with Permeating just going full bore pop. The title track to HCE I thought was the perfect balance of pop/prog, but that's pretty hard to duplicate. Whatever. He's doing his own thing here as he has with all his solo albums.
The surround mix is typical SW, which is to say excellent. Nothing to complain about with that at all. 10.
I really need to start finding some crappy mixes because it seems like I'm giving out 10s all willy nilly.
This is a very good album still, and I don't think that's because I'm letdown by TFB. It really has some stellar moments and a few of those subtle tracks that are just perfect as "filler" (filler by SW standards). It mostly straddles the line of pop/prog, with Permeating just going full bore pop. The title track to HCE I thought was the perfect balance of pop/prog, but that's pretty hard to duplicate. Whatever. He's doing his own thing here as he has with all his solo albums.
The surround mix is typical SW, which is to say excellent. Nothing to complain about with that at all. 10.
I really need to start finding some crappy mixes because it seems like I'm giving out 10s all willy nilly.
I don't want to sidetrack this thread, but the Bone tour was a monster. I've never been so jaw-dropped as this one. Mind blower.....
Yeah I saw the show in Dallas. Great venue, top notch performance of course, and he had a bit of a surround setup as I recall. What I really enjoyed also were his chats in between songs with the audience. I think it was billed as "An Evening With Steven Wilson," and that's exactly what it felt like.
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