Steven Wilson: “One of the greatest tragedies of the 21st century is that rock music – particularly the guitar – hasn’t really managed to reinvent itself”

Steven Wilson
(Image credit: Hajo Mueller)

Though he’s best known as one of the most revolutionary string-splitters in prog-rock history (thanks in no short part to his tenure fronting Porcupine Tree), Steven Wilson has his headstocks dipped deep in a myriad of genre-disparate pots. Take for example his sixth solo album – The Future Bites, hot off the presses via Universal – which blends with Wilson’s signature serpentine fretwork an array of glitchy and glittery synths, keyboard solos and dance beats.

In many ways, The Future Bites is a highly conceptual effort. Sonically, it explores a realm of contemporary pop music sometimes minimalist, and sometimes absolutely bursting at the seams with captivatingly convoluted disarray. Thematically, it explores how technology has both benefitted and hindered the progression of modern society – it invites us on a critical journey through, as a press release informs us, a world where “ongoing, very public experiments with nascent technology on our lives take place constantly; where clicks and Tiks have become more important that human interaction.”

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Ellie Robinson
Editor-at-Large, Australian Guitar Magazine

Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Her bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (where she also serves as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Her go-to guitar is a Fender Player Tele, which, controversially, she only picked up after she'd joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped her see the light…