It’s hard to imagine a more prescient-sounding record than one that explores how nascent technologies affect our motivations as modern consumers at a time when we’re all frantically buying online to stave off the effects of lockdown. The songs dealing directly with this are The Future Bites’ most captivating. ... There’s no need for the buyer to be wary here. The Future Bites is guaranteed to weather the ravages of time.
Despite its dark, cautionary subject matter, The Future Bites is Steven Wilson’s most powerful and commercially appealing set to date. Beautifully produced—it’s one of the first studio albums of new material mixed in Dolby Atmos surround—this is the bristling sound of Wilson taking a bite into the future of prog-rock.
Powerful and thought-provoking, if depressing, The Future Bites ultimately asks you to take a good hard look at what the hell you’re doing with your life.
The Future Bites is neither a huge stylistic departure nor the betrayal that many Wilson diehards have claimed it to be. Conceptually, the album revolves around a post-apocalyptic vision of an overly materialist society, and while the electro-pop trappings are almost never “happy,” they serve as a slick backdrop to the dystopian landscape Wilson envisions.
This review contains spoilers, click expand to view.
An extension of what he dabbled with on his previous album, The Future Bites is an exercise in progression. While one critic has called it the OK Computer of the Amazon era, I would consider this akin to Kid A in that it adds elements without detracting from how enjoyable each songs are. And, in a few cases, these songs would fit on some of his older albums, be it 12 Things I Forgot on Hand. Cannot. Erase; Count of Unease on Stupid Dream from Porcupine Tree; or Eminent Sleaze on The Jokes on You from Karma. Lead single, Personal Shopper, while including Elton John and background singers on the chorus, is a 9 minute experience with a funky, dance beat and beautifully harmonized tenor voice from Steven on the bridge (which appears twice) and includes a hard rock coda. And Steven hasn't abandoned rock. Eminent Sleaze includes the Chapman stick and a guitar solo while Follower sounds perfect for 80s rock.…Expand
Steven's still a hell of a songwriter. Is this album as good as Hand Cannot Erase, Raven, or To The Bone? No it definitely isn't but DAMN isSteven's still a hell of a songwriter. Is this album as good as Hand Cannot Erase, Raven, or To The Bone? No it definitely isn't but DAMN is this a good album.
Steven plays a lot more into the electronic side of his influences which I can admire. This is incredibly apparent with songs like King Ghost, Personal Shopper, and Eminent Sleaze, all of which have a very 80s new wave/synthpop vibe to them while tackling modern topics like mental health and predatory capitalism.
However, the rock cuts on this record stand out for me as some of the BEST work he's ever done.
-Unself/Self - This album starts off with a two part opener that would sound right at home on To The Bone with a special guest appearance from Japan/Porcupine Tree key player Richard Barbieri.
-12 Things I Forgot - I feel like this is a love letter to everyone who grew up idealizing the real world in their youth who now struggle to assimilate into a society that has neglected them. All the while bound together with Steven's guitar playing that evokes George Harrison's spiritual-like melodies in albums like 33 1/3 or Living in the Material World coupled with backing harmonies reminiscent of Dark Side of the Moon era Pink Floyd.
-Man of the People - Steven goes for a more political tone with this track all the while evoking echoes of early Porcupine Tree on this one. Brilliant lyrics and an incredibly catchy chorus
-Follower - Like we got in To The Bone with Same Asylum as Before, Steven captures some energy from Porcupine Tree's most popular period and gives it a modern twist.
Also don't miss the Elton John cameo on Personal Shopper.…Expand
Judge this album for what it is, not what it isn't. What it isn't: a Porcupine Tree record replete with random key and time signature changes;Judge this album for what it is, not what it isn't. What it isn't: a Porcupine Tree record replete with random key and time signature changes; noodly, interminable guitar solos; peripatetic ADHD toddler drumming, and whale noises. What it is: a mature and modern electronic pop album that employs a contemporary musical language to evoke the past without living in it. Wilson will never be Bowie, but I'll bet now he knows how Bowie felt c. 1975 or so: "Yeah, 'Young Americans' is weird and makes me uncomfortable, so I'd appreciate if Bowie could un-invent himself, re-hire the Spiders from Mars, and do "Ziggy Stardust" again, just with different songs. But not too different."…Expand
His 'least interesting' offering to date. However, King Ghost is excellent, beautiful and amazing imho (ty SW). Moving on... 12 Things IHis 'least interesting' offering to date. However, King Ghost is excellent, beautiful and amazing imho (ty SW). Moving on... 12 Things I Forgot is basically a Pete Frampton/Blackfield mix that I like, but it's ultimately weak and should be on a Blackfield album. Count of Ease shows that SW knows where to put a great track on an album, to give it a powerful finale. 2 great moments, 1 nostalgic track (wishing for a decent Blackfield album again) and the rest is drab mediocre pop that is trying to be edgy and sophisticated but is, ultimately and regrettably, forgettable.
This is the first time in 6 albums I didn't by his 'super deluxe' version... and, thankfully, I feel like I dodged an expensive and non-essential bullet.…Expand
